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Full text of "Maximum Rocknroll, No. 198 (Nov 1999)"

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number 1 98 

november 1 999 




SUBSCRIPTIONS: (postpaid prices) 
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sub for $18.00 (US dollars). 

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sub for $18.00. 

•South America: Copies are $4.00 each/ 6 

issue sub for $24.00. 

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sub for $33. 

•Australia, Asia, Africa: Copies are $7.00 

Let us know which issue to start with! 


Back issues 146, 149-151pt 2, 155-175, 
1 77-1 97 are as stated above in subscription 
info. See descriptions on page after next. 


Scene Reports: continuously, with photos! 
Interviews: continuously, with photos! 
Ad Reservations: call to make sure. 
Ad Copy In: by 15th of previous month- 

Issue out: by 2nd week of following month. 


1/6 page: (2 1/2" x 5") $25 
1/3 page long: (2 1/2" x 10") $60 
1/3 page square: (5" x 5") $70 
1/2 page: (7 1/2" x 5") $100 


Due to backlogs, we can only run new ads 
for music and zine releases. All other ads 
must be classfieds only. We will not accept 
major label or related ads, or ads for comps 
or EPs that include major label bands. 

CLASSIFIEDS: 40 words cost $3/60 words 
max for $4. No racist, sexist or fascist mate- 
rial. Send typed if possible. Cash only!!! 
Expect a two month backlog! 

COVER: Michelle Barnhardt 

SELL MRR AT GIGS: Within U.S., we'll sell 
them to you at $1 .50 each ppd, cash up 
front. Must order 5 or more of the same 
issue. Need street address (not PO Box) to 
UPS to. 

STORES: If you have problems getting 
MRR from your distributors, try contacting 
Mordam Records at tel (415) 642-6800 or 
fax (415) 642-6810. Also available from: 
Dutch East, Get Hip, Smash, Subterra- 
nean, Last Gasp, Rotz, See Hear, Cargo, 
Armadillo, Ubiquity, Choke Inc, Desert 
Moon and Marginal. 

Please send all records, zines, letters, 
articles, scene reports, photos, subscrip- 
tions, interviews, ads, etc., to: 


PO BOX 460760 

SAN FRANCISCO, CA 94146-0760 

Phone (415) 923-9814 

Fax (415) 923-9617 


(use this mainly for comments & letters. 

Use phone for ads & other business stuff) 

For what it's worth (not much), 

here's some of the MRR crew's 

current Top 10 lists of stuff we review. 





V/A-Bandana Thrash Vol 1-flexi 





FALL SILENT-Superstructure-LP 


V/A-Anti The New Japan-US Security Treaty-EP 







RONDELLES-Safety In Numbers-EP 

DAILY TERROR-Andere Zeiten-EP 

SCONEHEADS-Larry Grayson is a Gestapo -EP 


SAINTS-(l'm) Stranded-LP 








THE TONE-Wide Eyes & Nonsense-LP 


V/A-Free Flight-CD 


V/A-This is Mod-LP 

V/A-The Rip Off Early Years-LP 

SAINTS-(l'm) Stranded-LP 




COOTER-Looking Up-CD 
SKIMMER-EP/V/A-Best Punk Rock Friend-CD 


VECTORS-Some Raging Rock N Roll 11-10" 
PRICKS-EP/SAINTS-(l'm) Stranded-LP 

V/A-This Is Mod-2xLP/NOFX-45 
RONDELLES-Safety In Numbers-EP 

ACHEBORN-Tuesday Is Dead-LP 



FALL SILENT-Superstructure-LP 




RUPTURE-Righteous Apes-CD 

V/A-Bandana Thrash Vol 1-flexi 

V/A-Mandatory Marathon-EP 


ACHEBORN-Tuesday Is Dead-LP 
V/A-Bandana Thrash Vol 1-EP 

THE TONE-Wide Eyes & Nonsense-LP 




SCONEHEADS-Larry Grayson is a Gestapo-EP 


I Please send us records (2 copies of vinyl, if possible- 
I fir' one for MRR and one for reviewer), or CD-only re 

lease. See Records section for where to send tapes. 


DAILY TERROR-Andre Zeiten-10" 
DEFIANCE-No Future, No Hope-LP 


V/A-Still Hate Your Neighbors-EP 




THE WORKIN' STIFFS-Through Thick & Thin-CD 

THE PIMPS-Wicca Chicka-EP 
SCONEHEADS-Larry Grayson is a Gestapo-EP 

V/A-Down In Front-4xEPs 


CHARGE 69-Religion Sacrafice-EP 



FALL SILENT-Superstructure-LP 


REDRUM-Sack Of Shit-EP 




V/A-Anti the New US/Japan Security Treaty-EP 


FU2-First Album By-LP 


REAL KIDS-"No Place Fast-LPs 

RONDELLES-Safety In Numbers-EP 


VECTORS-Some Raging Rock-10" 


V/A-This Is Mod-LP 

REAL KIDS-Better BE Good-LP 


VECTORS-Some Raging RockNRoll 11-10" 
JET BOYS-Jumpin Jet Flash-CD 
ZYMOTICS-(Eddies) Random Bombing-EP 
POWDER MONKEYS-Talk Softly...-10" 
B-MOVIE RATS-lnvisible Man-EP 



MOPES-Accident Waiting To Happen-LP 


SKELLET-City Life/On The Line-45 




Sam Atakra Peter Avery 

Aragorn Paul Barger 

Michelle Barnhardt Lily Boe 
Jerry Booth Enrico Cadena 

Brianna Chesser 
Catherine Cook 
Rob Coons 
Andy Darling 
Mikel Delgado 
Neale Fishback 
Gardner Fusuhara 
Katja Gussmann 
Mike Hale 
Harald Hartmann 
Jeff Heermann 
George Impulse 
Carolyn Keddy 

Karoline Collins 
Robert Collins 
Jason Crandell 
Rafael DiDonato 
Chris Dunlap 
Jonathan Floyd 
Brian Gathy 
Lance Hahn 
Chris Hall 
Jen Hate 
Tom Hopkins 
Kenny Kaos 
Roger Kuhns 

Dulcinea Loudmouth Michael Lucas 

Ray Lujan 
Timojhen Mark 
Jeff Mason 
Mundo Murguia 
Jennifer Mushnick 
C. Nellie Nelson 
Donna Poole 
Sandra Ramos 
Bruce Roehrs 
Denise Scilingo 
Steve Spinali 
Jason Valdez 
Ryan Wells 
Jeff Yih 

Hal MacLean 

Mary Jane 

Tobia Jean Minckler 

Allan McNaughton 

Jah Nell 

Mimi Nguyen 

Jacqueline Prichard 

Casey Ress 

Rotten Ron 


Pete Simonelli 

Max Ward 

Shane White 

Rema Young 


Mykel Board 
George Tabb 
Brian Zero 
Rhinestone T 
Dave Emory 
Mark Murrmann 
Mark Hanford 
Felix Von Havoc 
Ryan Richardson 
Brian Zero 
Paul Transparent 
Lane Van Ham 
Kristofer Pasanen 

Nathan Berg 
John Kohut 
Ted Rail 
Renae Bryant 
Erin Whupass 
Skipard Reason 
Larry Harmon 
Brian GTA 
Jose Palafox 
Trent Reinsmith 
Stickerguy Pete 
Jin Lei 

Andreas Hagberg 
Mikey Hopscotch 

Arwen Curry Sean Sullivan 



#146/July '95. Riverdales, Head, Bristles. Aut Smith ". 

Aut, Schleprock, Spanakorzo, McRackins. #165/Feb '97. He's Dead Jim, Millionaires. No- 

YAPO, 10-96. Empress Of Fur. Underhand, Talents. Blanks 77, The Hives, The Freeze, Chris #181/June '98. Grapefruit, Druggies, Stiletto 
Nailed Down. Speding/Other People's Music, Defiance, Real Boys, All Bets Off, Bonecrusher, Summerjack, 

MacKenzies. Savage Malignant, Sea Monsters, Cell Block 5, DDI, Normals, "Pioneers of Punk— 
#149/Oct '95. Manic Hispanic, Pet UFO, Cam- Dropkick Murphys, Vou Sou Nezumi, "Roots of 999", Pirate Radio theme issue, 
pus Tramps, Joe Kidd, Bad Luck Streak, Punk — Richard Hell". 

Chumpslap, Humpers, No Violence, Diferentes #183/Aug '98. Lewd, Asshole Parade, His Hero 

Attitudes, Juveniles, Richard the Roadie, "Roots #166/Mar '97. Walking Abortions, Hickey, '77 Is Gone, Cee Bee Beaumont, Teen Idols, "Pio- 
Of Punk— The Sixties Pt 2". Spreads, Sanity Assassins, Cards In Spokes, Joey neers of Punk — X-Ray Specs", Chiapas article. 

Tampon & The Toxic Shocks, Adjective Noun. 
#150/Nov'95.NYLoose,Snap-Her,SickBoys, Suicide King, Lenguas Armadas, Trauma, De #184/Sept '98. Absentees. Devoid of Faith, UX A, 
Splatterheads. Pipe, Pregnant Man, Final Con- Crew, "Pioneers of Punk — Dead Boys". Umlaut, Four Letter Word, Streetwalkin' Chee- 

flict, Rawness, Stink, Goblins, Smellie Fingers, tahs, Ricanstruction, Libertine, Indecision, Snark- 

"Roots Of Punk— The Essential 1950s" #167/Apr '97. No Fraud, Nobodys, Sloppy Sec- out Boys, "Pioneers of Punk— Black Flag". 

onds, The Forgotten. Thee Viceroys, Brian/Grand 
#151/Dec '95. Lowdowns, My White Bread Theft Audio, Gauze, Danko Jones, "Roots of #185/Oct '98. Traitors, Wimpy Dicks, Armed & 
Mom. Queen B's, Electric Frankenstein, Tur- Punk— Kuro". Hammered, Dylan McKays, NME, Tezacrifco, 

tlehead. Serpico, Trick Babys, In/Humanity, Worm, Roswells, Raxola, Beatnick Termites. "Pi- 

Stains. Varukers, Pist, Terrible Virtue, "The #168/May '97. Cretin 66, Fishsticks, UK Subs, oneers of Punk— Adverts". 
Hardcore Films Of Richard Kern". Distemper, Enewetak, Fields Of Shit, "Roots of 

Punk— SLF, Undertones". #186/Nov '98. Registrators, August Spies. Mari- 

#155/Apr '96. 3rd Degree, Russy Crush, Surf- lyn's Vitamins, Chinese Love Beads, "On Our 

in' Turnips, Sickoids, Anti-Flag, Slight Slap- #169/June '97. Hand Skin, Cluster Bomb Unit. Doorsteps "-on homeless punks, "Pioneers of 
pers. High Plains Drifters. Cro-Mags, Hockey Jihad, Purgen, Speed Queens, Remission, Punk — Spizzenergi". 
Teeth, "The Knights Of Malta". Halflings,TheOldMan,Deface,"RootsofPunk— 

Clash, Ramones, Sex Pistols". #187/Dec '98. Real Kids. Sawn Off. Cretins, 

#156 pt 1/May '96. PublicToys, Crunch. Peter Spider Cunts, Heroines, Third Party, No Class, 

& The Test Tube Babies, Nails Of Hawaiian, #170/July '97. Bristle, Mine, Tedio Boys, The 4 Skabs, Lily & Lance's Holiday in the Sun,. "Pio- 
Splach 4, Yawp!, Lifetime, Sickoids. "Roots of Cockroaches, Absconded, Meanwhile. Broken, neers of Punk — Dead Kennedys". 
Punk — Boston". (Young) Pioneers. Hoodrat, "You're Dead!", "Pi- 

oneers of Punk— The Slits". #188/Jan '99. Stitches, Neighbors, Mansfields, 

#156 pt 2/May '96. Australian Special: Bean- Real Swinge/, Marauders, Mark Bruback, Mars 

flipper. Melancholy, Blitz Babiez, Crank, Sub- #171/Aug '97. Strychnine. Idiots, Pelado Recs, Moles, DOA, "Pioneers of Punk — DOA". 
Rosa. Mindsnare, TMT, H-Block. B-Sides. Misanthropists, Racetraitor, Violent Society, 

Fallout, Frenzal Rhomb, Lawnsmell, One Inch Knuckleheads. #I89/Feb '99. Monster X, Peter & the Test Tube 

Punch, Chickenshit. No Deal. Ussue 1. Clint Babies. Steam Pig, Maurauders, Yakuza, Dead 

Walker. #172/Sept '97. Withdrawals. Judgement, No Mo- Beat Recs, Halfways, Hot Rod Honeys, DeRita & 

tiv, Oppressed Logic, Truents, Left For Dead, Sister. 
#157/June '96. Against All Authority. The Yellowskin, Weird Lovemakers, Smash YourFace, 

Criminals, Wardance, Heroines, Brain Brats, Flatus, Straight Faced, Klaxon, X-It, web designer #190/March '99. John Holstrom, Powerhouse, 
Rudiments, Chinese Millionaires, Sons Of Her- Vic Gedris, filmmaker Doug Cawker. Brezhnev, Slappy, Black Pumpkin, Smartbomb 

cules. Your Mother, Yellow Scab, "Roots of ca, Wanda Chrome, Long Gones, Smogtown. 

Punk— Sham 69". #173/Oct '97. Hot Water Music, Fat Day, Los Halfways, Tilt, "Pioneers of Punk— Mechanics". 

Tigres Guapos, Les Partisans, Bristols, My 3 
#158/July '96. Workin' Stiffs. The Gain, Ash- Scum, Space Shits, Pessimiser Recs, Reclusives. #191/April '99. Murder Suicide Pact, Kil Kare, 
ley Von Hurler, Haters, The Process, Brother Nick Qwik, "Pioneers of Punk — GG Allin". Dudman, Super Hi-Fives, Better Than Elvis DJs, 
Inferior, Judge Nothing, Break-ups, Not For Pet Peeves, Loose Ends, Slingshot Episode, "Pi- 

Rent. "Roots of Punk— The Buzzcocks". #174/Nov '97. Stratford Mercenaries, Lickity oneers of Punk— Minor Threat", pt 1 of Chom- 

Split, Bladder. Piss Shivers, Barnhills, In/Hu- sky's "Propaganda&ControlofthePublicMind". 
#159/Aug '96. Smugglers. Brand New Unit, manity, Education theme issue. 

ToneDeafPig-Dogs.RoundEarSpocks.Dav- #192/May '99. Los Crudos, Burning Kitchen, 

id Hayes/Very Small Recs. Man Afraid. Blind #175/Dec '97. One Man Army. Those Un- Henry Fiat's Open Sore. Polythene, Kangaroo 
Side. Vox Populi. Death Wish Kids. Fun Peo- known, Boiling Man. Piao Chong, Exploding Recs, Willie Brown, Biotic Baking Brigade, "Pi- 
ple, Fat Drunk & Stupid, "Roots of Punk — The Crustaceans, Last Year's Youth, Heartdrops, oneersofPunk — Vice Squad", pt 2 of Chomsky's 
Dickies", Dirty Burds. Dimestore Haloes, "Pioneers of "Propaganda & Control of the Public Mind". 

Punk — The Henchmen", filmmaker Lech Kow- 
#160/Sept '96. Automatics. Boycot, Toast, alski. #193/June '99. Munster Recs, DS-13, Safety 

Morning Shakes, Mormons, John Q Public, Pins. Pussycats, Piolines, False Alarm, Darling- 

Sex Offenders, Ballgagger, Business. Apoca- #176/Jan '98. Infoshops/radical bookstores, ton, Bad Stain, Bodies. Houseboy, 3 of 
lypse Babys. Good Riddance, Russia Update, Scared of Chaka, Wongs, Palatka, Voorhees.Stal- Chomsky's "Propaganda & Control of the Public 
"Roots of Punk — Eater". ingrad. Upstairs People, Squidboy, Beltones, Sky Mind". 

Grain, the 1.4.5's, Ducky Boys, John Cougar 
#161/Oct '96. Jet Bumpers, Steel Miners, Divi- Concentration Camp, #194/July '99. Deathreat, Last Match, God Hates 

sia, Lopo Drido, Red #9. Nothing Cool, Sink. Computers, Fokkewolf, Flesh Eating Creeps. 

Sires. Newtown Grunts, "Pioneers of Punk- #177/Feb '98. SuperflyTNTs. Submachine, Drop- Aside, Hoppin' Mad. Kid Dynamite, Thee Out- 
Ohio 77". out. Society Gone Madd. Pinhead Circus, Ann casts, "Pioneers of Punk— Elvis Costello." 

Beretta. Blackbird, Naive, Useless ID. Quaran- 
#162/Nov'96.PhantomSurfers,CandySnatch- tine, "Roots of Punk— Generation X. #195/Aug'99. Moral Crux, RC5, Have Nots, III 

ers, The Stain, National Guard, Torches To Tempered. Dysentery. Greg Higgins, Revlons. 

Rome, RestosFosiles. Two Bo's Maniacs, Snu- #178/Mar '98. Forgotten Rebels, The Dirtys, Larry & the Gonowheres, CU.Next Tuesday 
ka. Redemption 87. Torture Kitty, "Roots of Josh Collins, Letterbombs. Go-Devils/Gyogun Recs, "Pioneers of Punk — Silver Chalice," MP3. 
Punk — Los Angeles 77". Rend's/Room41.ToneDeafPig-Dogs,American 

Steel, Economics theme issue. #196/Sept '99. Hopscotch Recs. Catharsis, Or- 

#163/Dec '96. Last Sons of Krypton. Prosti- chid, The Pricks. Grissle. Product X. Reaching 

tutes. Wig Hat. Boys, Let It Rock, Enemy Soil, #179/April '98. Boy Sets Fire. Tres Kids. Idyls. Forward, Emerge. Third Degree. "Time To Die- 
Vulcaneers. Half Empty. Zeros, Deadcats. Teen Spat & The Guttersnipes, The Posers. Explosive Epicenter Zone 1990-1999". 
Idles. Kate. Douche Flag. They Still Make Records, 

"Pioneers of Punk— Dangerhouse Records". #197/Oct '99. Reducers SF, Lower Class Brats, 
#164/Jan '97. Naked Aggression, Lif Bun- Reactor7,TheGodsHateKansas.FuturoIncierto, 

nies. Sparkle Moore. Tab Hunter, Bar Feeders, #180/Mav '98. Reinforce. Discontent, TV Kill- Showcase Showdown. Waifle. Rat Earth Recs. 
Jabberwocky. Auto Control, the Hookers. Ep- ers. Slack Acuon. Eyeliners. Mademoiselle, MK Holidays in the Sun report, "Pioneers of Punk — 
ileptix. Acrid, "Roots of Punk-The Vibrators". Ultraviolence. Haulin' Ass, 97a, Infiltrators. Jack Radio Birdman." 
"Ten Years Of Gilman". Saints. Stray Bullets, "Pioneers of Punk— Patti 

BACK ISSUE SALE: For every three you purchase, you get a fourth one free!! 
Please list alternates in ease we're out of a particular issue. Price list is on previous page. 


Scene Reports: PUNK'S NOT 
DEAD! it's happening out 
there andMRRreaderswant 
to near about it! MRR relies 
on you scenesters out there 
to Keep, the pulse of what's 
happening fn your town, 
write up something fun and 
interesting about itTand send 
it in to MRR. Photos and 
artwork are mandatory, Tell 
us about local bands, zines, 
and cool and uncool venues, 
include info for travelling 

gunks (non r US scene reports 
re especially welcome!) 
such as where to find cheap 
veggie eats, record stores, 
anostrong coffee. Has your 
punk scene spawned any 
communally-run enterpris- 
es such as snow spaces, ca- 
fes or record stores? Are rac- 
ist or homophobic thugs 
threatening your scene's 
najmony? Inquiring punk 
minds want to know!. See 
details below for format info. 

lis bi 
nterviews: Boy, is MRR 
-pro 1 
_ hare, 
like to get a staff .of 

ever looking to improve the 
ia)ity of our interv " 
nicn shouldn't be h 


tllch 5 


f our lrfterviews 
Han't be hard!) 
...e'd like to get a staff of 
reliable people across the 
country ana around the 
world who could turn in 
spme good, prpbmg inter- 
views on a semi-regular ba- 
sis. We're looking Tor peo- 
ple who already nave some 
experience doing interviews 

a wider audience), who can 
challenge bands a know, I 
enow, most bands don't 
lave squat to say, but a good 
nterviewer can take them 
where they haven't been be- 
fore!) or give some long 
overdue support for those 
behind-the-scenes types 
who do an awful lot of the 
hard, work in punk rock but 

§et Tittle of the ego or mon- 
tary rewards. Please give 
us a call if you are interested 
in covering new hardcore, 
~i bands, , 

prefer things 

KBSffifW' 1 

stuff? We 

typed up, on a 3 1/2" com- 
puter disk, either Mac (pre- 
ened) or IBM. Please don't 

type in ALL CAPS! If you can't 
access a computer, then 
typed up cleanly on paper 
should work, aslong as it's 

in a fairly common and 


ic staff? send photos (B&w 

yard font. Graph- 

preferred, but color OK too), 
logos, etc. Thanks 
Records/zines? See detailed 
information listed on the 
mastheads of the Record 
Review and Zine Review sec- 

K&riOHAl e*u*ni«Tiu«YO<m ■mnwi wuwtM 


MAIL ORDER ALL CDS COST S7.00 PPD ^ B| I "' ' ^T ^^ ^^ *i5 * 



i.SUBINCISION S/T old school punk 



4. DEATH TO FALSE METAL comp.proberds. 






Incut to »'•*< <■!**«. hum«» I 



PUNK. « 








12 THE DREAD collection, pogo punk veterans. 


13. SKANK FOR BRAINS suicide machines 


14. TORN APART -nothing is permanent 

.' '/J 

XMtrmruren _ 




Rational Inquirer #10 

$3PPD US, Canada, S. America / $5 World Full Color Cover' 

We also carry: 

Probe #7 $5 

Dogprint#11 $4 

ADD #6 w/ CD $5 

Suburban Voice #41 w/ CD $6 

Suburban Voice #42 w/ 7" $4 

Retrogression #14 $4 
Genetic Disorder #1 5 $2 
Angry Thoreauan #22 $3 
10 Things #19 $3 
We also have lots of back 
issues. Prices are all PPD! 

a day for honey 
agnostic front 

blanks 77 

born against 


citizen's arrest 



god is my co-pilot 

gorilla biscuits 



into another 



mind over matter 


orange 9mm 




sick of it all 




youth of today 


and many more - 


Compact Disc 

Excellent Quality 
1000 Packaged CDs $1350.00. Need a CDR 
master and films. 1000 Raw discs (no 
packaging) $750.00. Meed a CDR master, 
artwork, and text for label film (2 color 
film positives for the CD itself $57.00). 

i For more info, contact: 

Beach Recordings 1 1230 Market St. #135 
San Francisco, CA 94102 | P | 415.553.8725 
F | 415.553.3973 

for recording info call 

the donfurystudio 

at 212 925 1064 

or E-mail 



dwarves,furious enter, 


moke bowls 

• out may 18th: 
Beatnik Termiti 
■ lp/cd/cass 

Remember the # ®(^53^Q (old d§ys? 

GAMEFACE cd 'Good" Twelve old s school,pop classics on compact 

Onlyiavailable'ifrom'DoctopStrang&RecorxtSi « 

■ i / .- 



The TANK - There Is No "I" in Band cd 
The FREEZE - One False Move cd 
Man Dingo/Oblivion - Split cd •'< 


CDs $10 ppd. US/$12 elsewhere. Send cash, check or money order to: DOCTOR STRANGE RECORDS 

P.O. BOX 7000-11 J ALU LOMA, C A 91701 

Send a buck to receive the Doc s legendary punk catalog. Check out the website-, 

the (international), .noise ...conspiracy 

Crypto-situationist garage-rock from mem- 
bers and ex-members of Refused, Doughnuts, 
Seperation and Saidlwas! Possession may 
eventually result in arrest. North American 
tour sooner than Marcel Marceau can mime 
"only anarchists are beautiful". 


Whoab. Freddy Mercury and Brian May 

meet an older, wiser Karl Marx at a 

Propagandhi show in Regina with Moral 

Panic opening up at a May Day celebration! 

Absolutely infectious ass-colliding punk 

rock anthem mayhem! 

Also Available; Propagandhi "Where Quantity Is Job #1 CD Weakerthans "Fallow" CD/LF 
I Spy "Perversity Is Spreading...It's About Time" CD/LP ...But Alive "Bis Jetzt Ging Alles Gut" CD/LP 

(M/ TOmMES (BSiMDDOOttSCri QXD1E MM SffiKKflOffl I HOamOKBSl oafli I D®H>§§ 
cd's $10 / lp's $8 ppd. U.S. funds credit card orders call (204) 947-2002 
mention where you saw this ad and get a free gift... 



9 Shocks Terror 

Zen & the Art of 

Beating Your Ass LP 

Discordance Axis 

Jouhou CD 

Sound Only CD 

Anal Cunt 

Old Stuff Part Two CD 

Fat Day 

Futoribi CD 

Available from 

Vacuum P.O.BOX40959 SF,CA94140 


Distributed by Revolver 



5-19 Shioji-cho Mizuho-ku 

Nagoya467-0003 Japan 


till the 

uunns stop? 





I Cant' Remember? 

1020 Queen St. W 

Toronto, Ontario, Canada 

M6J 1H6 

We are happy to answer all questions. Please write to us or 
address us on the issues in our songs. 

Long live cheese! 

Only $3 US or $5 Canadian 


USA $3 EACH 2 FOR $5 
5 FOR $10. WORLD $5 PPD 







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The Tone 

Wide Eyes- CD/LP 

Watch for the ^ 
Tone on tour 

with Discount on 
the East Coast 

l starting Oct. 10 J 

* f 


Songs for £mm s/T CD on)y 

s ^and HWssonse. . i 

Water closet Time Is Coo) CD /LP 

Me First 

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FIFI S THE MACH III New Race 7" £2.65 $5.00 

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RANCID HELL SPAWN Gastro Boy T £2.65 $5.00 

RANCID HELL SPAWN Teenage Lard 7" £2.65 $5.00 

SAVAGE MALIGNANT Lucky 7 7" £2.65 $5.00 

STEVE McQUEENS Mission To Rock T £2.65 $5.00 


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BASEMENT BRATS Ifs All Right 7" £2.75 $5.00 

BINGO / THEE S.T.P. Split T £2.75 $5.00 

BORIS THE SPRINKLER Drugs & Masturbation 7"£2.75 $5.00 

BUMPN'UGLIES Band Of 1 000 Holds 7" £2.75 $5.00 

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am, I was 
pretty amused 
by one part of 
fe your column 
about the More Than Music Fest. Hav- 
ing been there to witness the "shit go 
down", I can inform you that there were 
some slight inaccuracies in your sec- 
ond hand account of the story. First of 
all, the "Go back to your ghetto" quote 
was taken woefully out of context. 
Granted, it's unwise to shout such a 
phrase at a hardcore show - someone's 
likely to misconstrue it or get very of- 
fended. Anyway, the person whom that 
comment was shouted at was not, to 
the best of my memory, a "person of 
color". In fact, she was a white girl who 
had just told the crowd to "go home to 
your safe, white, suburban homes". 
Immediately after the white girl said 
this, some guy shouted back "Go back 
to your ghetto!". Apparently, this guy 
knew the white girl on stage and meant 
to imply that she was just as white and 
suburban as the crowd she was shout- 
ing at. At that point a black punk kid, 
who had been standing off stage sev- 
eral feet away from the white girl, took 
this as a personal insult and tried to 
pick a fight with the guy who made the 
"ghetto" comment. 

As for that "go to a Los Crudos 
show" comment, once again the per- 
son it was directed at was not, from 
what I could see, "Latino" in origin. I 
could be suffering a lapse in memory, 
but I believe it was another white girl 
was onstage at the time. She was 
saying that "this weekend (the MTM 
fest) was the first time that women and 
people of color had been able to have 
a voice in hardcore". Someone in the 
crowd shouted back "What, you've 
never been to a Los Crudos show?". 
Again, this was a dumb thing to shout 
at an he show, but it was completely 
innocuous compared to the way that 
the incident was depicted in your col- 
umn. You'd think that there were a 
bunch of drooling rednecks in the crowd 
by your account of the fest. Maybe 
there were - maybe I was still suffering 
from the effects of the cheap whiskey I 
had imbibed earlier in the evening and 
lost touch with reality. 

Isn't it odd that your source of 
information for the fest and I would 
have differing accounts of what hap- 
pened that night? Oh well, the hardcore 
scene is a world where gossip, hyper- 
bole, and bullshit reign supreme, so 
why should I be surprised? I wasn't too 
surprised to learn that squirting a 

hardcore girl with a water pistol now 
constitutes "assault" in our scene. Only 
in the realm of "political hardcore" could 
pettiness be so extreme that people who 
are 99 percent in agreement be at each 
other's throats and creating "banned" 
lists for so-called community events. If I 
wanted that kind of shit, I'd join one of the 
various Leninist groups on my college 
campus. Needless to say, I'll probably 
steer clear of next year's MTM fest. 
Besides, most of the people who go 
there are the kind of squares who'd 
probably be just a little too offended by 
an Angry Samoans record. Knight in 
Satan's Service, 

Maximum Rocknroll, 

This summer I helped 
out a few bands while they 
were on tour putting them up for 
a few days, etc. (my hardcore duty). One 
of the bands was a band from Europe 
called Mainstrike. I live in an apartment 
building right above my landlord, who's 
like an 84 year-old flag-waving, deaf, 
jaded (more then me) cHckheacl. I al- 
ways have paid my rent on time, kept 
semi-quiet, and been polite to the guy. 
The first night Mainstrike stayed, I left 
them here in my apartment for a few 
hours as I went off to work the next 
morning. They later came by the shop to 
visit me, and went off to check out the 
Equal Vision headquarters which is very 
close to where I live. I went home ex- 
hausted from staying up and talking 
"shop" all night with my European friends, 
and took the time by myself to take a 
nap. I woke to a phone call from my 
landlord yelling at me to get down stairs 
right now! 

Being the nice young man I am, 
I went down and asked him what the 
problem was. He yelled for me to sit 
down, then started screaming about how 
I couldn't have seven people living in 
that apt. and "what, ya got people sleep- 
ing on tables and floors? You can't do 
that". I then explained that they were 
friends of mine from Europe, and he 
replied with "get them a hotel or some- 
thing." I told him they were my friends 
and they were staying with me. He then 
said, "well, they look retarded to me". 
This is when I lost it, I got up and started 
yelling that now he'd offended me and 
he could fuck off! I told him I knew my 
rights and could have any one over I 
liked, even if they were retarded (he he). 
Then out of nowhere he starts saying 
that he knows that they are part of those 
riot people at Woodstock that burned 
down the show, and he asks, "why are 
they all wearing black?" At this point I'm 
like really frustrated and tell him my 
friends had nothing to do with Woodstock, 

or the Columbine high shootings. He 
tells me he wants me out by the end of 
the month, I tell him fine! So now he's 
scared off my friends, who I wanted to 
stay with me - they feel the need to 
leave, after overhearing the whole dis- 
cussion. I'm a bit stuck now, because 
I'm not sure if I should just leave, or 
stick it out, teach him a lesson, and 
show him that tenants do have rights, 
and go a few months rent free. 

I feel bad for a band like 
Mainstrike who support American 
bands like crazy when Americans tour 
Europe. These people make sure bands 
get two meals a day, get a driver, and 
play great shows. The worst thing I 
think people do to these European 
bands is not offer them a place to sleep. 
I'm sorry, but if you've decided you are 
going to put on a show with a band from 
another country, at least feed them and 
let them crash on your floor. It seems 
so many Americans are wrapped up in 
their own lives that they can't step 
outside of it to help people from far 
away. Well that's about all I have to 
say, please email me at or write, 
Nate Wilson/ PO Box 14253/ Albany, 
NY 12212 

^^^ Hello Maximum Rocknroll, 
^L%^ This note is to correct 

^fci^the misinformation printed in 
^ your August issue. In that issue 
JH's review of 77's "Revolution 
Rock" CD on Elevator Music read "ap- 
parently 77 were a Portuguese punk 
band that were active in the early and 
mid '90s, and are now defunct." That 
information is totally incorrect. Here is 
the truth: 77 are a Portuguese revolu- 
tionary punk group fronted by Paulo 
Eno, an influential and charismatic fig- 
ure of the European art and music 
scene. This group started in 1996 in 
Coimbra, Portugal, and just released 
their first CD "Revolution Rock" on El- 
evator Music. Paulo Eno has been in- 
volved in different punk movements in 
Portugal since '76 finding expression 
in groups performing music, theater, 
dance, spoken word, etc. 

I'd also like to add that 77 is not 
to be taken lightly because their music 
explores socio-political issues of which 
individuals should be aware, including 
religious hypocrisy, exploited workers, 
the state of democracy, Cuban em- 
bargo, sexual openness, and equal 
rights. 77 is revolution through positive 

Please take note that 77 are 
very alive in '99. A tour is now being 
booked forthem on the East coast from 
Boston to DC for these dates: October 
1-17. Check them out live American 

^ee&WLt tfcirss*^ 


punks. It's time 
from other cor- 
ners of the world, 
especially real 
punk from small 
countries where 
they risk their 
lives on a daily basis to speak against 
their deeply corrupted governments. 
As Paulo Eno says: Music and 
otherforms of expression are the weap- 
ons I choose to fight the war. Let my 
voice be your inspiration as 77 travels 
down the highways of experimentation 
and originality, fights commercial me- 
diocrity and the castration of all human 
thought, and liberates the human spirit 
through music. 

77 - a generation, a revolu- 
tion!!! Any questions or thoughts about 
77 can be sent to: Elevator Music/ PO 
Box 1 502/ New Haven, CT 06506 USA. 
Fernando Pinto 

Okey Dokey. 

Dear MRR, 

I'm writing in re- 
sponse to the review of 
Kontraattaque's "Luchas, 
Tragedias, Historias De Nuestra 
Gente" EP. It's described as a compi- 
lation, but really it's their EP. One of the 
songs was the title of Kontraattaque's 
demo ("Dentras de un Sueno"). Re- 
gardless of this mistake I do agree that 
it is worth purchasing - buy it. Thank 
Sam Thomas III 

PS Hirax Max, I enjoyed your 
first column and the newest one. Please 
continue, and W.H.N, brings me back 
to my youth, thanks again. 

Hi MRR! 

I just feel it's neces- 
sary to get rid of some 
thoughts which came to my 
mind during the last months. 

1 . Punk was always DIY and it 
will always be. So if I buy a fanzine I buy 
it cause I wanna get some information 
about bands and records - about non- 
major label bands and non-major label 
records. Otherwise, I'd look for the 
newest Spin issue or something. 
You 've always been the fanzine which 
did it exactly that way (DIY). So it really 
get on my nerves when there's a zine 
like Hitlist coming up and talking shit. 
What the hell? They're not DIY - cause 
they're running ads from major related 
bands and review their records. Fuck! 
I don't wanna come across a Victory, 

Revelation or Nitro ad while reading a 
zine which considers itself punk. I'm 
really glad that there's a zine out like 
MRR because every time I take a look at 
it and decide to order some records from 
an ad I can be almost 1 00% certain that 
it's non-major. And that's why I like this 
music called punk. Keep up the great 
work you do with this fanzine. 

2. I'm also getting sick on this 
talk about EpiFat. An important thing 
people mostly don't notice is that Epi- 
taph is major related and that Fat is 
independent. I 'm sure Fat Mike could 've 
sold Fat Wreck a thousand times to a big 
company but he didn 't. He just didn 't do 
it. And I think he treats all the bands with 
respect and I also guess they get their 
money (good money). And all those 
crusty punks who start yelling now that 
Fat is big anyway should try to imagine 
a situation where they were offered a 
shitload of money for their one-man 
label. Would they deny the money? I 
guess not. It's different with Epitaph. 
Yeah, you're right, it's major related, so 
no discussion. 

PS I hope you were able to 
understand what I wanted to express. 
Excuse my English but I'm from Ger- 

Hey MRR (especially Skipard 

Reason, this joker!?), 

We're writting this letter 

in response to S. R.'s "Christian 
Corner" column, just hoping this is a joke 
and then to add that it's a poor one (one 
time: OK; two times, we can ignore it; but 
more, it's not funny anymore!). And in 
the case that this is his real opinion: 
where are your punk rock ethics of no 

homophobic, fascist, racist, sexist, etc 

politics (read your imprint or change it 
and get out of the scene.) Tim Yohannon 
is tossing in his grave! 

By the way, we as krauts are a 
little bit uncomfortable with this kind of 
patriotism that's typical for Amerikkka 
(your country is the greatest on earth 
that brought us democracy and chewing 
gum, equality and Coca-Cola after the 
second World War?), even shining 
through in MRR, and we cannot under- 
stand your acceptance of bands like 
Stars & Stripes (e.g. Taang! advert) or 
Anti-Heroes who are in fact just fascist 
crap (of course we know "good" music 
excuses Nazi politics and some "seig- 
heiling", as we are told by our lovely 
"unpolitical" skinhead mates, and of 
course a few "seig heil" shouts doesn't 
make someone a Nazi; and so Taang! 
can sell Skrewdriver and Brutal Attack 
live videos and no one cares about it.) 
We know we are ignorant and do not 
understand the principles of 'real' de- 

mocracy and peaceful coexistence of 
diverging opinions. We try to learn and 
shake hands with all those sexist, rac- 
ist, fascist, homophobic, etc., people 
like you do. We look enthusiastically 
forward to the hopefully upcoming 'Pio- 
neers of Punk' with Skrewdriver. It 
seems a little bit like you've got too 
much to do with keeping MRR free 
from major label shit and therefore you 
aren't able to take care of fascist ten- 
dencies. Your loving, reading, learn- 
ing, obeying Yoyo-Records Collective: 
Jan, Yvonne, Flo/ YoYo-Records 
Fuhrerbunker/ Bergstr. 24/ 74670 
Sindringen/ DoMtschland 

Jan, Yvonne and Flo, 

Thanks for your letter. I'm not 
about to defend the Christian column. 
I'll let Reason's own column play out 
this saga over the next couple of is- 

As far as us taking ads for 
Taang and GMM is concerned, if you 
look in the last couple issues, you'll 
notice that we haven't been running 
ads for Taang. The complaints about 
their politics were noted, and as of now 
we're not doing business with them. 
We've heard no concrete statements 
about GMM's politics, besides your 
vague letter, and until we do, we're 
gonna keep running their ads. 

We will of course continue to 
review, and talk shit about, all the right 
wing music that comes out of these 
labels, or any others. Thanks again, 

©Maximum - 
I was sad to hear that 
Epicenter has closed down. 
For many years it was the 
only place I knew of to get 
punk/hardcore records around the 
Bay Area, especially vinyl. I bought lots 
of records there through the years. I 
guess that since "punk" hit the main- 
stream, it was only a matter of time. 

I will miss that place, and I 
would like to say thanks to all the vari- 
ous staff who took the time to talk to me 
and kept the place' running. Thanks 
also to Maximum for getting it going in 
the first place. Epicenter, r.i.p. 
Eric Fortner/ PO Box 55603/ Hayward, 
CA 94545 

PS I'm looking for a female 
guitarist/ singer for a three piece punk 
band. Joan Jett, Bangs style. Drug free 
please. Thanks. (925)327-8461 pager. 



I would like to start off 

by saying that Mr. Skipard 

Reason is about the sickest 

person in this country. How can 


you justify put- 
ting thisinMRR? 
I think it's a good 
idea to see the 
Christian point- 
of-view on is- 
Isues, but you 
8 couldn't have 
picked a worse person to write the 
column. Letting someone as right-wing 
as Mr. Reason write a Christian col- 
umn is adding to the stereotypical view 
that all Christians are conservatives. 
And is the only way he can get his point 
across is to print 20 quotes by some of 
his fellow fascists. The man also needs 
to examine his words a little more 
closely because he comes off to me 
sounding like a complete hypocrite. 
His claims that people are bigoted 
against Christians are in the same col- 
umn that he degrades homosexuals 
and women. If his comments don't 
make him a bigot, then what does? 

Now to closely examine a few 
of his quotes individually: his first quote 
talks about how we atheists have used 
the constitution to destroy the country. 
I find this idiotic, considering conserva- 
tives have, guarded their sacred sec- 
ond amendment so they can flood the 
country with guns and commit acts of 
violence on animals for "fun." 

The second quote was very 
hard to follow for me, but I think the 
point was that non-Christians were in 
power in this society. Bullshit! Nearly 
every person in poweror who has ever 
been in power in this country has been 
Christian. If we were in power, society 
wouldn't be quite as fucked up. 

The next quote claims that the 
media is liberal-based, Congress is 
Democratic, and that these two things 
and those "evil" homosexuals are de- 
stroying Christianity. Well, first of all, if 
the media was at all liberal then it 
wouldn't be as censored as it is. Also, 
if you haven't noticed, most Demo- 
crats, like most people in this society, 
are Christians. And perhaps homo- 
sexuals don't like (right-wing) Chris- 
tians because you mindlessly hate 
them. And then after discriminating 
against homosexuals, the quote goes 
on to say how Christians are discrimi- 
nated against. What complete, utter, 

Then, Bush's words say that 
atheists shouldn't be considered patri- 
ots or citizens. Well, it's just fine with 
me if I'm not a part of mindless patrio- 
tism, but how can he say that someone 
shouldn't be part of a society because 
they have different views? 

The anti-gay leader Pat 
Buchanan wants to make this a Chris- 
tian government. Well, I'll be damned 

because I could have sworn that the 
whole fucking point of this country was 
to have religious freedom. 

The next quotes are about 
women, and I know I can't be as enraged 
as a woman, but it still pisses me off that 
these shitheads think they're above ev- 
erybody. Tammy Faye Baker says that 
she loves be under submission to her 
husband. Was she dropped when she 
was a baby? And who the fuck says all 
marriages have to be Christian? I cer- 
tainly hope that all Christian women don't 
believe this bullshit like Tammy Faye. 

And just how is Planned Parent- 
hood teaching people to commit adul- 
tery, bestiality and homosexuality? I 
mean, this statement just makes no 
sense at all. This Pat Robertson piece of 
shitjust likes to say nonsense that doesn't 
mean anything but somehow is sup- 
posed to discriminate against people in 
a nonsensical way. Then Robertson con- 
tinues his stream of b.s. by stating femi- 
nism makes people kill theirchildren and 
practice witchcraft. How did this idiot 
determine this?! Oh, and we wouldn't 
want to destroy precious capitalism which 
tears this country further and further 
apart. Feminism isn't about capitalism in 
the first place. It's about equal rights. 
Then, the great Rush speaks his mind 
and says feminism allows unattractive 
women to find a place in the mainstream. 
Oh, well, we wouldn't want ugly people 
in society. We should just eradicate all of 
them. Bye bye, Rush! And then killer of 
millions, Charlton Heston, goes on to 
proclaim that there is mainstream pro- 
paganda for homosexuals. And we know 
how much right-wingers are against pro- 
paganda! Mr. Heston is one of the most 
racist and sexist people in this country 
and yet millions respect him. 

The last quote is really disturb- 
ing to me. This man is completely hor- 
rible and along with other right-wingers, 
is trying to brainwash good Christians 
into fascists. I wish that you would con- 
sider someone not as conservative to 
run that column. There are precious few 
Christians left, and I only know a handful 
who are not bigots like the aforemen- 
tioned. What this idiot doesn't realize is 
that if there really were a hell, he would 
be going there. I would like to end my 
letter with a quote of my own: "A bible in 
one mans hand can be as dangerous as 
a bottle of liquor in another's." - Harper 
Lee. Sincerely, 
David Parkins 

^^ DearMRR, 

Mm It sure seems that you 

^■^P have found a home for both a 

"" piece of humor and a catalyst for 

reader response. I write of the Christian's 


I am secure in the fact that the 
column is a "big joke." I will not com- 
plain about Skipard Reason (clever 
name, folks) and his writings. They are 
obviously an attack on Christianity and 
the beliefs it holds. No sensible being 
could be so idiotic as Skip and his 
colleagues, Christian or non-Christian. 
Cripes, let it be a joke. 
Joe Reta 


Why the hell are you printing 
the "Christian's Corner"??? Do 
you even fucking read it before 
you publish it? Skipard Reason is clearly 
a fascist - how you can you let him write 
for you? When I first sawthe Christian's 
Corner, I thought it was either a bad 
joke or a way to make a fool out of this 
man; apparently I was wrong. His right- 
wing politics are absurd! First, he tries 
to tell me that "Biology class provides 
an avenue to unleash twin liberal-hu- 
manist channels of indoctrination." 
That's ludicrous. Biology class provides 
an avenue to open our minds to the 
facts of science and medicine. Sec- 
ond, he goes on to tell me AIDS is a 
means for his god to "cleanse" those 
his god is angry with. All right, Skipard, 
you say it is "the perfect creation of a 
perfect creator", so why is it affecting 
millions of non-homosexuals, non-drug 
users, and non-prostitutes? And to top 
it off, he sensors the word "sex" in "The 
Christian's Guide to Biology"!!! 

Issue 1 96 is even more appall- 
ing. He says he's gotten "a flood of 
support"? Where does it come from? 
And why didn't you print any of it in the 
letters section? He goes on to give me 
a list of quotes from Paul E. State that 
will "show you what Christians are re- 
ally all about." Oh well thank you, Paul, 
but I think I've already figured out what 
you guys are all about. 

Hey, guys, better watch out, 
because "what Nazi Germany did to 
the Jews, so liberal America is now 
doing to the evangelical Christians." 
But wait, I don't see six million dead, I 
don't see piles of dead bodies laying in 
pits in concentration camps, and I cer- 
tainly don't see a world war. Oops, 
guess you fucked that one up, Pat 
Robertson. But wait, there's more... 
apparently I'm not supposed to be con- 
sidered acitizen, because George Bush 
says "this is one nation under God". 
Damn, better pack my bags... 

Nowforthe sexism. ..what kind 
of a husband thinks he's betterthan his 
wife? An abusive one, maybe? Per- 
haps a man who is too insecure with his 
own manhood to accept the fact that 
women play as much of a role in society 
as men do? Regardless, the last series 

of quotes is 
quite fucked up. 
Once again we 
hear from Pat 
Robinson: "I 
know this is pain- 
ful for the ladies 
to hear, but if you 
get married, you have accepted the 
headship of a man, your husband." 
Well, not if you get married to me. But 
wait! If it was on The 700 Club it must 
be true! Silly me! 

So here's what I've gathered 
from the quotes you compiled, gentle- 
men: I am, by your definition of atheist, 
a Nazi and a non-citizen. Very interest- 
ing, considering you are the ones ex- 
pressing all the fascist views. I am also 
to be an over-zealous and controlling 
husband. But here's what disturbed 
me the most: Pat Buchanan address- 
ing an anti-gay rally in Des Moines. 
You know there's something wrong 
with this country when presidential 
candidates are fascists and 
homophobes. How can Mr. Buchanan 
serve the people if he is discriminating 
against a large portion of the American 
public? Let's just hope he doesn't get 

In conclusion, I'd like to make 
something clear: Skipard, I am in no 
way anti-Christian. If Christianity, or 
any other religion, keep you sane and 
out of trouble, good. I am, however, 
against the train of thought Christians 
like yourself seem to hold. It, simply 
put, is outrageous. Take a look at your 
column, Skipard, then turn the page. 
See that flag about 3/4 of the way down 
the page? That, my friend, is your flag. 
Benny/ Pittsburgh, PA 

PS If you guys down at MRR 
decide to keep that column going, at 
least include other religious columns 
(i.e. Judaism, Hinduism, etc.) 

/^•^Friends at MRnR, 
l! No§ I read yourzine, nearly 

\^jj£pr every issue that is released, 
I even subscribed for a brief 
period. I just wanted to release a little 
bit of info to you all. Not only do I listen 
to punk music and attend shows as 
much as possible, I like to consider 
myself Christian. It looked interesting 
when I saw that you had a new Chris- 
tian column, that is until I read the first 
two installments. Guess what? It is a 
joke, and I hope that I'm not the only 
person that caught on yet. I read a few 
of the letters and a handful of people ( 
if not many more) are really put off by 
the column, including myself. Please 
see to it that your "Phony Christian" 
columnist is discharged from service 

as soon as possible. That aside, the zine 
is still doing fantastic, and I still really 
enjoy reading every issue. I especially 
think that the Bruce Roehrs column is 
great, keep it up Bruce! Thanks for read- 
ing and keep up the great work there at 
MRnR! Cheers! 
Mike Curnel 

Dear Maximum, 

Give up on this 
Christian's Corner crap. It's got 
to be a joke, right? MRR has 
always preached about having no fas- 
cist material, so why start now? Is it for 
shock value, some kind of cheap mar- 
keting strategy to keep the readers' at- 
tention? Well, homophobia is not hu- 
morous or shocking, it's just plain dumb. 
Besides, Christianity (and religion in 
general) pushes and supports the ideol- 
ogy of being "sheep" and "following the 
herd", and I don't see how that has 
anything to do with punk or MRR. That is 
just my opinion (and I know you've heard 
plenty) and I for one am not trying to set 
any kind of rules for being "punk", I am 
just a little disappointed. 

One last thing, I don't under- 
stand why MRR is so damn supportive of 
George Tabb. All he writes about are his 
"close encounters with large breasts", 
not to mention the fact that he writes like 
a damn three-year old. "My friend Bob 
(who owns a punk club)" or how he ends 
every other paragraph with the phrase 
"punk rock"... etc. These are just mere 
examples of his childish/ ridiculous an- 
tics. Other than these things I still enjoy 
MRR every month. Thanx. Love, 

Dear MRR, 

I have serious doubts 
as to whether Skip Reason is 
a real person, and I think most 
readers question pretty much anything 
he says. Nevertheless, I do want to 
correct his facts about Preven. The pri- 
mary function is not to prevent the im- 
plantation of the fertilized egg. Emer- 
gency contraception has been around 
for 25 years and is exactly the same 
thing as birth control pills, a combination 
of synthetic estrogen and progesterone. 
It works exactly the same way as birth 
control pills do, by preventing ovulation. 
And just like birth control pills, they may 
block the sperm from fertilizing the egg 
or irritate the endometrial lining and pre- 
vent implantation in a few cases. These 
emergency contraceptives only have a 
75% success rate and do not cause any 
birth defects or abortions of already ex- 
isting pregnancies. The widespread use 
of these kits could actually dramatically 
cut down on unwanted pregnancies and 
abortions but it seems "Skip Reason" 

and the Christian Right are more con- 
cerned with "empowering harlots", 
which Preven could do. I suggest call- 
ing Wal-Mart at 1-800-966-6546 or 
writing them at 
to tell them that their decision to ban 
Preven is ignorant and sexist. Hope- 
fully they will overturn their May deci- 
sion once they find out that it is hypo- 
critical to stock birth control and not 
Preven just because some powerful 
people don't find it necessary to edu- 
cate themselves before they form opin- 
ions. Thanks, 

A Dear MRR and readers, 
I have been a reader of MRR 
for a number of years, yet who 

knows where it is headed? I 
wanted to write about the Christian's 
Corner. I believe in freedom of speech, 
etc; although I find that column very 
cynical, homophobic, sexist, radical, 
hypocritical, etc. To have this column in 
MRR is wrong. Now to say the least, 
going againstthe policy that MRR stood 
up for for so many years. Do you feel 
that Tim Yo (rip) would want this in his 
zine. Show some respect, and be con- 
siderate of how he would feel! At least 
warn every one of us, before you de- 
cide to become emo. 

I would not be surprised if you 
went on and accepted ads from Tooth- 
n-Nail, plus reviewed their cheese dick 
garbage can bands. As well as right 
wing emo/punk Christian metal zines. 
Perhaps MRR is becoming jaded, with 
a new staff and all. After a while we'll be 
seeing a glossy slick cover, upc codes, 
color pages, and right wing politician 
columns. Let the government start 
sending you columns. All good things 
can't last forever, 
anonymous/ Des Moines, IA 

ODear Maximum, 
Hi there, I just have a few things 
to add to the ongoing debate 
■»••;" about "Christian's Corner". Now 
I know you're (Maximum editorial 
staff, et al.) probably getting a bit bored 
of receiving abuse, hatred and general 
antagonism about this but I felt I had to 
join in on this lively and thought-pro- 
voking "issue". I'm not normally the 
kind of person to write to a zine like 
Maximum, i.e. well established and do- 
ing a difficult job to the best of its 
collective ability but I felt I have to get a 
few things out. The main problem I 
have is the heavy reliance of Mr. Cor- 
ner on quoting hardline evangelical 
Christians i.e. Pat Robertson for inspi- 
ration and guidance when following his 
chosen religious path. We all know 
how xenophobic and generally intoler- 

ant these 

hardline Chris- 
tians are and it 
makes Maxi- 
mum hard to 
take seriously as 
a forward think- 
ing publication 
when one of its columnists seems to 
think that those disagreeable people 
walk on water (pun intended). Even in 
this part of the world we all know too 
much about Pat Robertson... 

Recently, when being ap- 
proached to participate in a joint busi- 
ness venture with the Bank of Scot- 
land, Mr. Robertson stated that Scot- 
land is a "dark country where the ho- 
mosexuals and sodomites have the 
upper hand." The Bank, backed by 
public opinion suitably offended, pulled 
out of the deal. Mr. Robertson tried to 
put the boot in by saying the deal falling 
through "was the will of the homosexu- 
als". It's laughable in a way, but what's 
not laughable is someone regurgitat- 
ing similarly offensive gobbledygook 
to a group of people who really don't 
want to hear it. There may be impres- 
sionable young punks out there who 
are influenced by this vitriol (unlikely, I 
know but it is possible and that is 
worrying to me.) And don't come crying 
to me with that "freedom of speech" 
stuff. Everyone knows that Maximum 
has hardly been supportive of that con- 
cept since its inception. That is prob- 
ably' why we all buy and enjoy it - 
Maximum readers hear enough sex- 
ism, racism and general intolerance in 
our daily lives, and to open the pages 
of a publication we rely on to be free of 
these things, to find that's no the case 
just brings people down further. If free- 
dom of speech is what it's all about 
then when can we expect a column 
from a member of the Klan? Over and 

Jamie/ 1 Renton Barns Cottages/ 
Grantshouse/ Berwickshire/ Scotland/ 
UK/TD11 3RP 

Dear people at Maximum 

OK. I'm really fed up. 
This whole Christian's Cor- 
nershit has been going on long enough. 
At first I was sort of pissed, and then I 
thought it over and thought maybe it 
would be OK to try something new for 
a while. Then I read the August issue 
and I was really fucking mad, but I 
decided to let other people complain 
because I'm a really lazy person. Now 
I just got the September issue and I'm 
reading the Christian's Corner and I 
got outraged. What the fuck is this? 
Not only does he support Wal-Mart 

(which is a right-wing, conservative, capi- 
talist corporation that censors things 
because of their radical thoughts and 
content, including music) but he's also 
insulting atheists and non-Christians. I'm 
an atheist and I have a lot of friends who 
are Christian and religious and I respect 
that. I don't ever insult them, even though 
I don't understand how they can believe 
in something they cannot see. Chris- 
tians and "God" and the Pope are all part 
of the same system that is oppressing 
us. They and their church were the ones 
who supported the killing of so many 
people in Argentina's dirty war and in 
Chile, Uruguay and so many other places 
because the people thought differently. 
Sounds a lot like Hitler to me, yet he still 
has a column in MRR. I don't care if the 
guy preaches, but he's just being a ho- 
mophobic, racist asshole who respects 
nothing but his shitty religion that is 
holding so much of this world and shov- 
ing it further into this shithole. 

I'm a 15 year old girl and I've 
been an atheist all my life. I'm a lefty or 
commie or whatever you wanna call me, 
but I don't appreciate this racist asswipe 
fucking up everything this zine has ac- 
complished and that's what he's doing. 
Don't you get it? You are letting a con- 
servative, Republican asshole get in- 
volved in this progressive punk maga- 
zine. Don't you think that's what the 
government wants? Please take his col- 
umn off. This stupid joke just isn't funny 
anymore. Yours punkfully, 
Sara Kozameh 

PS I'm so pissed off that I feel 
like screaming really goddamned loud, 
but I'm going to control my anger, rewrite 
this letter so maybe it's readable and 
hope you guys listen. 


A few things here, first 
of all, forthe vegans out there, 
do any of you attend a doctor, 
take medicine, shots, and or other 
treatments offered? I just want to know 
how you can justify supporting the medi- 
cal field if you are against the exploita- 
tion of animals. I can guarantee that 
whatever medicine you do use has been 
tested on animals. Pretty much any ad- 
vancement in the medical field would not 
have been possible without being able 
to fuck it up on a ton of animals first. The 
surgery that saved your mom's life was 
practiced a thousand times on some 
defenseless animal. Do you throw away 
your morals when it becomes conve- 

Second thing, I see so many 
people in the scene bitching about how 
the biggest problem in the scene is that 
it is full of so many richie poseurs who 
don't belong. I want to know how you can 

expect a movement to grow, and gain 
power, when a good majority of the 
population is not allowed in the move- 
ment in the first place. What do you 
want rich kids to do, since they are not 
allowed amongst you? And lastly, 
how many times have you seen Noam 
Chomsky speaking adamantly about 
who, or what band has sold out? Zero 
times — why, you ask? Because some 
people have better things to do with 
their time than worry about stupid shit 
that takes up so much ink and breath in 
this scene. If any one has any com- 
ments at all about anything, please 
email me at embodyment 
Joe from IL 


Thanks for your ex- 
ri^cellent column about divorce 
™ and all the wonderful stuff that 
goes along with it. I've taken to calling 
my dad "the sperm donor" because he 
pissed me off so much. After only a 
limited amount of child support pay- 
ments, years with no new school clothes 
or much, no money for college - he 
decides to get married again and give 
the chick $3,000 to take aviation classes 
at community college. Meanwhile I am 
working my ass off in factories to have 
money for part-time college, rent, in- 
surance, blah blah blah. Or like my old 
best friend - her dad left her and her sis 
when she was seven and ended up 
remarrying and having five more kids - 
what the fuck? All the while nevercon- 
tacting them even though he only lives 
15 minutes away! Anyway, take care, 
hang in there - enjoyed your input on 
the subject. 

Shawn Belcher/ PO Box 722/ Char- 
lotte, Ml 48813/ 


(use this mainly for comments & 
letters-to-editor. Use phone for 
ad reservations. Do not expect 

answers, but you might get one) 






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Socially subversive, fast, aggres- 
sive, melodic and fun punk rock 
which brings to mind the days of 
early Dead Kennedys and Fear. 
"Tight well played punk with gruff 
vocals and smgalong choruses". 

despised 1999 CD 
Move over Prince... It's the end, 
the end of the century and the 
Despised are taking no prisoners. 
This debut full-length gets down 
to the bare essentials of Oi ! 
inspired Punk Rock. Includes ham- 
mering re-makes of all four now 
out-of-print seven-inch tracks. 

fiendz we're the fiendz CD 
"Recordings from the early days of 
longtime punk favorites the fiendz 
are now available for your listening 
pleasure on one 23 track CD. They 
did it first and they did it better. 
This coiection of 7" cuts and the 
band's first album define what 
pop-punk has always been about: 
it's simple, catchy, fast and fun." 

1000 FLOWERS, and more! 

beatnik termites taste the sand CD 
There's something in the water in 
Cleveland and it's contagious. The 
Beatnik's brand of heartbroken surf- 
laden Pop-punk will eat away at your 
heart, mind and stereo. Recommended 
by both Rev. Norb and Ben Weasel. 
Includes "Ode To Susie and Joey", 
"9:15" and "Mary Lou." 

flatus aural fixations CD 
The record that broke Flatus as an 
international Pop-punk sensation is 
now available on the ever popular 
Compact Disc format. Ok, so it 
always was. However, some of you 
have not purchased this record yet. 
We cannot get a framed gold 
record until some more of you buy 
this record. You understand our 

lawnfarts 13 sonjs about nothing CD 
Chuck and Co. have turned many a 
quiet bar upside down when they 
kick out with their fast paced, 
sweaty, sing-a-long fun punk rock 
kinda stuff. And there's 
more... after a few spins, you will 
begin to realize their twisted 
secret: the songs are actually about 
something other than nothing. 




Great new compilation CD on 1 +2! 
It includes 23 fine power pop/ 
garage/pop punk cut from all over 
the world. 959* of the songs 
included in tNs CD are new and 
exclusive recordings for it. 
Needless to say, they are not only 
pure pop sound, but also rockin 
style. (It's 1+2 style!) We highly 
recommend it for all pop f ansl 
Don't miss it! feat. Meows, 
Shambles, RFi & the Mach 3, 
Banana Erectors, Treeberrys, Ego 
Maniacs, Challenger 7 etc etc $11 


1+2 Records proudly presents 
Doorsiammer's debut CD! They 
came from LA and features a great 
singer/composer/bass guitar 
player, Todd Westover and 
members from Street Walldn' 
Cheetahs. And Rich Coffee from 
Alter Egos plays guitar some cuts. 
TNer music reminds me Detroit 
Rock meet Velvet Underground 
with Kinks melody and early Blues 
Explosion's sounds! Totally really 
cooi and emotional. 
This is a long waited debut CD. It 
Includes 1 5 orolgnal tunes from 

Todd Westover. 

It's a solid and mazing production! You can enjoy real independent 

music here! HlgNy recommended for all punk/garage/indie music 

fans. $11 (PPD) 

All CD's $10. Postage-Paid. 


PO BOX 4377 RIVER EDGE, NJ. 07661-4577 USA 


It takes 3 years for making! At 
last, 1+2 presents great tribute 
album to the Saints. It includes 24 
Saints' classics by top garage/ 
punk bands of 90's. Highly 
recommended for all punk/garage 
fans. feat. Nomads, Nashville 
Pussy, Jeff Dahl, Mono Men, FiR 
& the Mach 3, Sator, Scratch 
Bongowax, Onyas, Spent idols, 
Challenger 7, Bellrays, Ed 
Kuepper, Campus Tramps, X Rays, 
Gamma Men, Phantom Rats etc 
Realy great!!! $11 (PPD) 



1+2 records pruldy presents Great 
Japanese garage^xjnk compilation 
CD named SCHOOL IS OUT, It's a 
collection of great and new bands 
from al over Japan . Including 1 6 new 
end unrefeased recordings, teat. 
Gasolin. RFI & the mach 3. Great 
Mangooae, Ogress, Coastrs Ride. 
\ Antonio 3, Estrella 20/20. Mickey 
Juice. Have Note. Banana erectors, 
Switch Trout. Elite 65 , Mach Kung Fu 
and others. It's a perfect guide of 
Japanese garage scene today. $1 1 




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item. SendSI for catalog. Cash, Checks ormo's payable to Robert Armstrong 

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ftagin'. raspy, machinegun street punk from ex-members of 
Wreck's "Short Songs' comp gets consistent mentions in 
reviews, and one listen to this will tell you why. Four tunes that 
totally ripl First 500 on clear vlnyll 

r $3.75 
"Ballad of the Last American Rock Band" 7" 

Three glrh from Scottsdale. big hair, super-sleazy attitude, 
and a total "fuck you' to anything approochlng fidelity. 
Trashcan garage punk wtth switchblades and too much 
mascara. Kinda like THE DONNAS before Lookout got 'em. 

7" $4.00 

"ON Oil THAT'S YER LOT!" comp LP 

The 4th in Garry "Mr. Oil* Bushell's Infamous series of comps 
showcasing the best of British Oil The 1982 release, originally 
out on Secret Records, featured stuff from THE BUSINESS 
more, and this re-release adds 5 bonus tracks. Very diverse 
stuff that shows the huge range of UK Oil Italian import. 

LP $9.60 

This English quintet created some great songs that most have 
never heard. Combining the biting political awareness, 
singable songcraft. and sheer conviction of THE CLASH with 
atouch of the drama and idtosyncracyof DAVID BOWIE and 
early new wave, this is a surprisingly listenable album that 
shoulda been a hitl Originally released in 1977 on Step 
Forward. Italian Import. 

IP $9.60 
"THIS IS MOD" comp 2LP 

Some of the best of the British mod revival of the tate ' 70s-earfy 
more. Gatefold sleeve with great artwork featuring vintage 
scooters. Italian import. 

2 LP $13.15 

THE AUTHORITY "On Glory's Side" CD 

No-frills, no-punches-pulled workingctass streetpunk/oi. gritty 
and committed as it comes. This is their 2nd album (the first 
was onGMMXandthe influential UKstreetpunkzlne'Kontroll' 
gave it an Impressive, hard-to-get 84% rating (easily beating 
releases by COCKNEY REJECTS and US BOMBS). 

CD $10.35 


Good-time, bouncy, upbeat and way rockin' garage and 
surf with a big fat '60s streak running through it (but plenty of 
'90s 'tude), from these four San Francisco girls. Farflsa and 
fuzz guitar fans will love this, and it doesn't hurt that the lyrics 
tend to be hilarious, either. Very very cool. 

CD $10.10 

All prices are postpaid in the US. 
Elsewhere add $2,50 for 1st item. $.50 for next. 

Hey! Ask (or a catalog with your order! Or send us 
$2.00 to cover postage ($3.00 outside the U.S.) and 
we'll send you a list! 

Shops! Yes, we sell direct! Great prices, great nils 
on tons of hard to llnd Items on so many labels we lost 
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Opinions expressed are solely those of the columnists and (thankfully) are not editorial policy. 

Mykel Board sez: 

"Are you trying to rub against my 
breasts?" she asks. 

"Who me?" I answer, "of course not." 

"Then why are you walking into me 
like that?" she continues. "You're even walk- 
ing weirder than usual." 

We've just come from The Continental. 
Great show with a bunch of bands I never 
heard of. I'm walkingback home with Hiroo- 

Despite the appeal of her pert inverted 
teacups, that's not why I'm walking funny. 

1 gotta to take this fierce piss," I tell 
her. "I don't think I can make it home." 

"Why don't you stop there?" she asks. 
"Just go in and use the bathroom." 

^That's STARBUCKS!" I say, "the glo- 
bal coffee cockroach. I'd never go in there." 

"It's the only place you can piss be- 
tween here and your apartment. Besides, 
you don't have to buy anything. You won't 
be contributing to their worldwide conquest 

"Okay," I tell her. "This is an emergen- 

I enter Starbucks. 


SHIFT. CHANGE. I'm not a lawyer. 
The way things are going, anything is illegal. 
They can sue you for picking dingleberries 
out of your ass. So from this point on, what 
follows is fiction. It's told about a fictional 
character who never existed. Get it? FIC- 
TION . Not true. Made up. Just a story. Never 
happened. Okay? 

Of course, I don't advocate any illegal 
activity nor would I encourage the imitation 
of the hero of this little vignette. Okay Mr. 
FBI man and Mayor Mussolini? It's just a 


M. walks into Starbucks, glances 
around to make sure no one he knows is in 
there. Then he scouts the mensroom, in the 
back on the right, and heads toward it. Enter- 
ing, he finds a young man in a white shirt and 
tie at one of the two urinals. The guy's obvi- 
ously a smarmy slummer, down on St. Marks 
Place to gawk at the freaks and enjoy his Star- 
fuckin'-bucks espresso. M. would let his blad- 
der explode before deigning to piss next to 
someone like that. Instead, he heads for a 

After lifting the lid and the seat, M. 
unzips and reaches inside. Grabbing what he 
needs, he fumbles a bit and pulls it out. 
Aiming carefully, a second passes as the 
fluid works it's way from M.'s bladder up 

through the urethra to the tip. During that 
second, M. thinks. 

"Now, I'm in Starbucks, a place I hate, 
taking a piss. What can I do to combine the 
ecstasy of release with the hatred of the envi- 

Quickly, M. lowers the seat and pisses 
on it. Not only does he train that yellow 
stream on the seat, but turns back and forth, 
making sure the floor and back of the toilet 
get a good wash. 

Squeezing out the last few drops onto 
of the closed toilet lid, M. leaves the bath- 
room and goes outside. 

H., a female friend of his, waits for him 
in front. 

"You've got a big smile on your face," 
she says. "It must've been a pretty good 

"The best," says M. They continue the 
walk to his place. 

After a wild night of Oriental nookie, 
M. goes off to his day job — teaching Japa- 
nese businessmen how da tawk like Nu Yaw- 
kahs. When he comes back home that evening, 
he turns on the computer and checks his 
email. There's a message from P., a former 
pal who's recently been pissing M. off. P. has 
suggested the government cannot regulate 
discrimination in private business. M. ex- 
plains the Civil Rights Act. 

Rather than admit he's wrong, P. an- 
swers with jokes about M.'s thinning hair. 
Tonight, it's a bit different. 

"You're such a whiner," writes P. "Why 
don't you ever do something? Whydon'tyou take 
some action, make some real changes, instead of 
complaining all the time?" 

"Fuck you," writes back M., not at the 
peak of articulateness, "I'vehelped change more 
than you could do in two lifetimes. Like xvhat? 

Well, for one, I helped end the Vietnam 
War. That ivas a long time ago. Still, if it weren't 
for me and thousands of others, Vietnam would be 
a parking lot today. 

Want another? How about that no punk 
today will claim to be "straight," without apolo- 
gizing. Bisexuality is now the norm. Maybe ho- 
mos can get away with it. But straight? Punks 
don't easily admit to that in the twenty first 
century. I claim at least six inches of responsibil- 
ity." [Five and a quarter. — Ed]" 

As he presses the SEND key, M. begins 

"What I said is right," he thinks, "but 
what have I done LATELY. Not much except 
pissing on the toilet at Starbucks..." 

If we could peer into M's alcohol-en- 
riched braincells, we'd see them start to fire. 
We'd hear those neurons buzz. See those 
sparks leaping synapse to synapse, like a 
match touched to the end of a row of fire- 

"YES," thinks M. "That's it. Something 
to live for. A goal. Something positive to do 
with my life. A soldier— no a general — in 
the war against global conformity. A spitball 
in the face of every McDonalds, Burger King, 
Staples, and Gap. The world needs salvation; 
one small step at a time." 

Atthis moment, Target Starbucks isborn. 
Starbucks is the perfect target. Poor people 
don't go there. It s expensive, aiming at the 
hoity toidy. It rapidly and immediately de- 
stroys neighborhoods. It puts small coffee 
houses out of business. It replaces intimacy 
with conformity. It destroys the character of 
neighborhoods and replaces them with shop- 
ping mallism. It's global, but not Coca Cola 
or McDonalds. It's achievable, but how? 
There's only so much pissing one man can 
do. Of course there are other, more severe 


FLASHBACK: The Gap opens on St. 
Marks place. POW! The nextmorning, they've 
boarded over the window. The brick flung 
through, makes its way to the local precinct. 
By the afternoon, there is a new window. The 
next morning, another brick. Soon the win- 
dows are replaced. Some kind of fiberglass. 
Bricks just bounce off. 

In the old days, people used bombs, not 
bricks. It didn't work. Worse than not work, 
it made people feel sorry for the "victim" of 
the bombing. Sometimes people got hurt. M. 
doesn't want to break human eggs to fry his 
omelet. Besides, it's easy to get caught with a 
bomb — or even a brick but not with... 
with. ..what? 

Momentarily stumped, M. goes to the 
refrigerator for a mental stimulant. He opens 
the door and pulls a Schlitz from its fellows 
in the plastic rings. 

Something scurries across the sink to 
the wall. M. shifts his attention. It's a roach, a 
big one. One the natives like to call zvaterbugs 
because it somehow sounds less disgusting 
than "huge cockroach. " This is a big brown 
one. As big a his thumb with saw-tooth legs. 
The kind that crunch if you step on 'em. 

"Yes! That's it!" thinks M., cupping his 
hand to trap the insect beneath it. He feels it 
squirm, pushing this way and that against 
the soft skin of his palm. 

Keeping one hand on the snared insect, 
M. stretches his other hand toward the sink. 
With the tips of his fingers, he reaches a 
plastic container. The remains of yesterday's 
sesame noodles still stick to the bottom. 

Almost losing his balance, M. replaces 
his cupped hand with the plastic container. 
He then slides the container along the wall 
until he's near enough to get the lid. Sliding 
the lid under the cup, the capture is com- 
plete. It's only the first. 

It's 2AM. M. is dreaming. He's naked 
and walking through a field of flowers. In- 
stead of flowers with petals, at the end of 
each stalk is a tiny coffee cup. Yellow, blue, 
red, coffee cup after coffee cup, each on the 
end of a green stalk. Then comes the bee. 
Large, with a ferocious buzz. Hungry, at- 
tacking. M. awakens and reaches to shut off 
the alarm. 

It takes a second or two before he re- 
members the plan. He reaches for the empty 
glass on the night table next to the bed. 
Without turning on the light, M. picks his 
way through the floor rubbish toward the 
kitchen. Holding the glass ready in his right 

hand, he flips the lightswitch with his left. 

The walls are alive with scurrying cock- 
roaches. Big ones, small ones, running helter 
skelter trying to hide from the light. But 
there's nowhere to run. Nowhere to hide. M. 
scoops them up with the glass and shakes 
them to the bottom. At least two dozen, now 
held with his hand tightly over the top of the 

Carefully, he empties the glassful of 
roaches into the plastic container with the 
giant roach. Now he's ready. 

The next day is Saturday. Perfect for a 
little excursion. M. takes his plastic contain- 
er, crawling with vermin, and tucks it inside 
his pants. Balling up rewritten letters to Con- 
gressman, and discarded pages from Inches 
magazine, M. stuffs them into the bottom of 
his combatboots, adding another two inches 
to his diminutive height. 

Then he puts on a short-sleeve button 
down blue shirt. Something left over from 
his days as a teacher in Japan. Adding to this, 
M. wears a black suit jacket, until then re- 
served for weddings and Rosh Hashona ser- 
vices. Looking the complete dork, M. heads 
out to Starbucks. 

First, a quick visit to a mensroom stall, 
the same one he relieved himself in, just a 
couple days earlier. It's disgustingly spick 
and span — but not for long. 

M. releases a few small roaches. Then 
he scoops the remainder from the plastic 
container andtransfers them to a small film 
canister. The large brown one barely fits 

M. leaves the stall and the mensroom 
heading back to the large main coffee area. 
There, M. buys a cup of coffee for a dollar and 
a half and sits at a table. Nursing that coffee, 
he scopes out the people at the other tables. 
Ah, there's a likely hit. A young woman, 
dressed in a blue womansuit, she looks like 
that dorky DA who lost the OJ Simpson case. 

Her Niked feet cross at the ankle and 
tuck underneath her chair. On the table in 
front of her is half a frapachino and a piece of 
something white and sugary. She's reading a 
hard-cover book. 

M. can't see the book's title. It looks like 
a textbook. He continues to watch her as he 
nurses the bad coffee. In a few minutes, she 
starts to fidget, pressing her knees together 
and shifting side to side. That's a good sign. 
A few minutes later, she looks overner shoul- 
der as if she's trying to find something. Then 
she takes a napkin, puts it in the book to mark 
her place, and stands and heads for the ladies 

M. makes his move. 

Under the table, he uncovers the film 
canister with the roaches in it, and re-covers 
it with the cheek of his palm. Casually, he 
strolls over to the absent girl's table. Focus- 
ing his attention toward the window, as if 
looking at something, M. silently lets the 
contents of the canister fall into the frapachi- 
no. A quick glance insures that the large 
brown roach, nearly expired from lack of 

oxygen, breathes its last in the service of a 

good cause. Gingerly, he puts the canister in 

his pocket and heads for the door. It's not 

until he's outside the door that he hears the 

scream from inside. 


M. has fired the first salvo of Target 
Starbucks. A new obsession. A new purpose. 
A new reason to live. 

For twenty years, M.'s goal was to live 
in Mongolia. His life focused on that seem- 
ingly impossible task. It was, he thought, 
why he could never die. Why he had to hang 
onto life with every cell of his aging body. 
But then he went. He lived in Mongolia. The 
great experience left a vacuum in M.'s life. 
What was there to live for? Now, that vacu- 
um has been filled. There is a new goal. A 
new reason to live: The death of Starbucks. 

Of course there are other enemies. Big- 
ger and smaller targets, weapons of global- 
ism, censorship, or pruditry. But the fight 
has to be waged one huge battle at a time. 
Forces need to concentrate. Approaches need 
to be fixed. Even if it takes more than a 
lifetime to get to first base, it's a lifetime well- 

So now it's Target Starbucks, no stop- 
ping until there is only one left. The original, 
in Seattle, that's ok. But everyone else, closed. 

M.'s life has meaning. A great, not- 
quite impossible goal. Destroy a real threat, 
and symbolically hit at world standardiza- 
tion. Not only spread the vermin, but spread 
the word. Recruit an army. Let it go over the 
internet, through zines (M. is a writer for a 
zine called The Punk Bible.), through word of 
mouth, through deeds. 

Starbucks' motto is 2000 by Year 2000. 
M.'s motto is One by Year 2001. 

It's a simple yet deadly plan of attack. 
Spread the word. Use the internet. Write. 
There is enough hatred to fire thousands into 
action. It's easy action. Anyone can do it. 

What can the enemy do? How can they 
fight back? There's no one to buy off. Target 
Starbucks is unorganized, independent. It's 
an army where everyone is the general. How 
can they stop it? Frisk people when they 
enter? Will the yuppies and their secretaries 
put up with that? Have TV cameras in the 
bathrooms? How long before word gets out 
on that one. Besides the last thing they want 
is publicity on this. ... Though it's too late. 
Their customers have never seen a roach 
before, and when one ends up in their coffee. 

Since this is oh so fictional, I can use a 
writer's time machine to project us into the 
future. To move us ahead. To watch as grad- 
ually, Starbucks dies. 

The branch near The Continental clos- 
es a week after the newspaper report listed a 
"warning" rating from the health depart- 
ment. In Kansas City, a lawsuit from a wom- 
an who sat on a dead mouse, closes the 
downtown branch. Others soon follow. 
One-by-one, Starbucks shut their doors. One 
by one, small coffee shops, little stores take 

their place. A thousand flowers bloom from 
the green and white carcasses. The Wall Street 
journal does a feature on the "Rise and Fall of 
a Coffee Dream." Finally, it happens. There 
is only one left, the original, stand ing meekly 
on a street in Seattle. 

The year is 2004. Missing his target 
date, but reaching his goal. M and a few 
friends gather in the one remaining Star- 
bucks. They're celebrating a victory. Only a 
battle, but a big one in the war against inter- 
national mediocrity and culturecide. 

They drink a ceremonial cup of coffee 
and then head outside. Suddenly a scream 
pierces the air. It's coming from someplace 
down the street. The group sees a highschool 

firl screaming like the one at the end of the 
lair Witch Project. She's running out the 
door of a local Barnes & Nobles. 

"A rat!" she screams. "I saw a dead rat. 
Right there, by the Power of Crystal books. It's 
a dead rat." 

M. looks at his friends. They smile and 
continue walking down the street. 
ENDNOTES: [Thanks to your protests, sit-ins, 
marches and church burnings, thereare no longer 
length restrictions at MRR. All power to the 
people! Yeah! Still, visitors to my website: 
index.html, or subscribers (email to: will receive a few extra 
endnotes. My computer needs a lot more cleaning 

— > By the time you read this, I (hopefully) 
will have set up a TARGET STARBUCKS 
web-info exchange board. You can find it 
though my website listed above. That will be 
a central point for the exchange of informa- 
tion about Starbucks evils and for stories (all 
fictional of course) about attacks against the 
evil bean sellers. 

— > Jim Munroe, My Canadian pal, who put 
me up, read with me, and suffered througn... 
er... interesting roommates tells me his book 
Flyboy Action Figure Gasmask Included is not 
only available through Rupert Murdock, but 
through Jim directly. You can get it (and you 
should) for $15 (includes postage) from 10 
Trellanock Ave, Toronto ON MIC 5B5 CAN- 

— >Website of the month is COPSWATCH 
( That 
one takes the awful TV series COPS and uses 
it as an instruction manual on how cops 
routinely violate individual rights. It also 
tells you what you can do about it. One 
simple tip you should have learned from 
Nancy Reagan, just say no! If a cop asks you 
for permission to search you or your car — 
say no. Be polite, but say no. If they do it 
anyway, you will have legal grounds to have 
it thrown out of court. 
— >Found it dept: I found the letter from the 
Belgian metal homo God who sent me a 
Tribe 8 t-shirt!! His name is Steve Wackenier. 
He collects Metal t-shirts! So if you've got an 
extra, please send it to him. He's at (Serpent 
St 26A, 9000 Gent, Belgium). I wonder how 
much work it took for a metal-guy to find a 
house on Serpent Street. 

—>Funny mail dept: I got a copy of something 
weird from BB in NY. He sent me the first 
draft of a paper he wrote for his journalism 
class — eight years ago. He had to do an 
"artist profile, and Michael (sic) Board was 
the subject. Sample: 

Age: 41 

Weight: 128 

Height: I wish 
Favorite color: black 

Favorite fruit: David Cassidy 

Favorite animal: Joan Jett 
— > Other ways to fight back dept: My pal Irwin 
sent me a news item about a businessman 
who was clubbed to death with a beer bottle. 
His crime? He refused to stop using his mo- 
bile phone in a German beer garden. He 
managed to escape from his attacker but 
staggered a few yards from the beer garden 
entrance before collapsing. He was dead by 
the time an ambulance arrived. Detectives 
investigating the Hamburg incident said the 
attacker turned himself in a few hours later. 
They have not yet charged him with a crime. 
The German press is already claiming it is the 
first example in Germany of "mobile phone 

Let's hope it's not the last. 
— > Passing it along dept: The relentless Mike 
Edison asked me to pass the word along. 
That's what I'm doing. 

ING FOR A SINGER. We live somewhere be- 
tween Howlin Wolf and John lee Hooker... a dose 
ofBeefheart, a cum shot of Stones... field hollers, 
spirituals... Let's just say it's got less to do with a 
garage 'and more to do with a tar paper shack. 
Knozv anyone? We're serious and ready to take 
over. This is the Resurrection of the Blues and the 
Second Coming of the Big Beat!!!! 

Anyone who thinks they can handle the 
massive responsibility and awesome power that 
comes with being a Sheik should E mail or call 212 477 7359 

Word passed. 
— > Secret Graffiti department: A group called 
THIRD VOICE, has figured out a way to let 
the average Jane say things about corpora- 
tions — or anyone else on the web. It's e- 
graffiti. You download the program at Then you can post 
comments ON TOP OF other websites. Any- 
one with the program can read them. You 
can deface anything. Go wild. Finally get at 
those corporate monsters. It won't be long 
before they figure a way to defeat this. But 
right now... do it! 

Hello Cowpokes. I have to apologize 
to you kittens for slacking on my last month's 

column. I was in Belize and Guatemala and 
completely lost the plot. So sorry, but the 
good news is that now I have a fabulous 
adventure to share with you from the land 
where this crazy cowgirl traveled. 

I arrived in Belize City around four 
o'clock, in the afternoon. I had a couple 
options of places to stay via my guidebook 
and was anxious to find one before it got 
dark. I hooked up with a couple kids from 
Aruba and we split a cab into the city. I got 
dropped at a little dumpy guest house down- 
town and they went on to a fancier setting. 
Belize City is sort of a shit hole, and there is 
nothing to do. I was anxious to leave the 
next day. I hooked up with some English 
med-students and a couple of Irish travelers 
and we went out to dinner together. The 
med students were very bossy and rude. It 
immediately turned me off. The Irish guys 
were cool and laid back, in fact one of them 
had been traveling for three years just pok- 
ing from place to place stopping to work 
some under the table job when he ran out of 
flow. After three years on the road you had 
better be laid back! 

The next day I met this very cool wom- 
yn from Holland that had been traveling 
alone for a month. Since I was alone too we 
had much in common to share about safe 
traveling tips for womyn like put little locks 
on your pack, put a crappy burlap bag 
around your pack so it looks dumpy (or 
dumpier in my case), look tough, carry a 
knife, have a visible tattoo, take your flight 
stickers off right away, always have a good 
book to read, bring duct tape, be patient, 
pack toilet paper, keep moving unless it 
feels so right to stick around, always let 
other travelers take the piss out of you about 
being from the U.S. and so much more. She 
was as badass as they get and so funny. 

I was going to accompany her to Gua- 
temala, but I finally got things squared away 
to get onto the island I went out to a drowned 
caye and helped this really groovy womyn, 
Caryn do some research on manatees. She 
was so great and we hooked up later to go to 

We came back into town and headed 
to a museum in the jungle about an hour 
outside of the city. After we found this little 
cheap place to eat out there, I really didn't 
want to go back to the city, and I loved being 
out in the jungle so I asked the owner if there 
was a place Icould pitch my tent and she 
said their was a spot up the road. I had to 
catch my bus the next day around about a 
mile up the road, so it worked out perfect. 
The camping spot was a chunk of land 
owned by a Dutch family that was an appro- 
priate technology farm, so I felt right at 
home. The latrine (a glorified four stall out- 
house) ran a gas pipe underground to the 
kitchen house. The methane gas collected 
from the human waste was used to power 
the stove and refrigerators to name a few. 
They did great work with catchment water 
and so many other cool projects. It was nice 
to be out there on my own and I was feeling 

very adventurous. 

Monday morning came and I took a 
rain water shower and packed up my shit 
for a mid-day trek to the bus stop which 
ended up being about four miles in the 
fucking hot midday sun. 1 felt like an idiot 
for walking that far in the middle of the day 
with all my shit. I caught the bus to the 
village. The village is called Gales Point 
Manatee, and is located on a tiny 20 yard 
wide peninsula that is about two miles long 
between two lagoons. It was one of the most 
beautiful places I have ever been and one of 
the most depressing. They got electricity 
about a year ago ana water just before that. 
Gales Point is a Creole village, so there was 
a big language barrier since I don't speak 
Creole. I stayed with a Belisean womyn that 
is doing manatee research. It was a very 
good learning experience. Gales Point was 
strict poverty. The outhouses were about 
four yards from the water to the west and 
the town was having a hard time finding a 
teacher for the children. There were big 
debates among the villagers about how to 
handle this situation and I felt very lucky to 
get to sit in on some of these discussions. I 
said very little as I wasn't entirely aware of 
all of the problems and also I was a guest. A 
few years back a villager found a pack of 
white powder washed ashore. They didn't 
know what it was, but a gringo living in the 
village at the time informed them that it was 
cocaine. Now about half of the villagers are 
addicted to smoking crack. It seemed like 
such a paradox to me that in this very re- 
mote location one would come across a place 
that had such an enormous drug problem. It 
started to seem hopeless and sadT They didn't 
work together, there was no community 
garden and no one trusted anyone else, so 
theft became a big problem. 

Three weeks before my arrival a vil- 
lager that had lived there for thirty years - an 
ex-patriot from the U.S. - had been beaten so 
badly that he was hospitalized. He was in 
his 70's and my hosts told me it was racially 
motivated. The day before I arrived he died 
in the hospital. The young man that beat 
him was a villager and had been in the 
village just the week before, but they told 
me he fled after the police let him go, but 
now they'd be looking for him. They were 
very upset and were convinced that he'd 
return to the village and no one would do 

I was told the illiteracy rate was about 
50% or more in the village. In fact there were 
some young college students sent by the 
government with a plan to increase the liter- 
acy rate and I watched them walk up and 
down the only road many times trying to 
round people up, but no one would go. 

I went by boat one day with a villager 
named John to Belize City and it is one of my 
fondest memories. We had a great time 
together after we worked on trying to un- 
derstand each others words. We both spoke 
very slowly and clearly. If you ever go down 
there look John up and tell him I say hello. 

On the way back we dodged rain in the 
little narrow rivers. It was so gorgeous and 
exciting. I kept bugging him to take me to 
this cave he had told me about. We docked 
the boat on some brown, fine sand where 
there wasn't a building or person or any 
sounds other than birds. I was cold from 
the rain and fast boat ride and shivering 
with hard nipples. The water was warm 
and lovely on my feet as I tried to pull the 
boat up to tie it off to a tree. We hiked 
through jungle savanna with long tufts of 
grassland and white oaks, coconut palms, 
and other small bushes. John pointed out 
all the animal tracks of deer, picarills (sp), 
and jaguars. The jungle mountains are ran- 
dom and rise high independently from one 
another. They are like breasts on the hori- 
zon, not a chain like I am more familiar 
with. We got to the base of one of the 
mountains and started up a trail. I slashed 
my arm on a razor palm, and carefully 
avoided the army ants. We arrived at the 
cave entrance and saw bats everywhere. 
We climbed down a ladder into the dark- 
ness and felt bats swooshing all around us. 
It was a gorgeous limestone cave. We made 
it to the end where the water table flows 
through a corner and it was beautiful. It 
was freaky, silent, damp, darkness. 

Caryn came that night and we took 
off for Guatemala the next morning. The 
villagers couldn't understand why we 
wanted to go to Guatemala and they told us 
that it was too dangerous. We went any- 
way and later I realized that it was a border 
dispute that bred paranoia in the people. 

We arrived in Tikal which is in the 
northeastern Guatemalan jungle after a bi- 
zarre experience on the busses and a stop in 
Flores (a gorgeous city!!!). It is an ancient 
Mayan ruin site of an advanced civilization 
that thrived for hundreds of years, dating 
back to 200 BC. We had no idea this place 
was going to be so huge. I have many 
details of this part of the trip that I am going 
to skip over because I want to focus on the 
politics. One of the guards, Jose spoke with 
me at length about the political situation. 
The conversation was in Spanish and for 
some act of brilliance my Spanish hap- 
pened to be very clear and good on this 
day. Usually it is atrocious. We talked about 
how poorly the Mayans are treated today 
in Guatemala and how many are not even 
allowed an education, let alone a decent 
wage. 70% of the cultivable land is owned 
by less than 3% of the population. Jose was 
Mayan and had worked in the park for 12 
years. He educated us about the ruins and 
the civilization that had lived there for 
centuries. Then I asked him about the bor- 
der dispute with Belize because I had heard 
the Belisian perspective and was itching to 
hear the Guatemalan perspective. He shock- 
ingly went into some racist rhetoric about 
how greedy the Creole people are and on 
and on. It was so ironic to me that he was 
saying these things after our initial conver- 
sation about oppression of Mayan people 

that spanned nearly five centuries. This led 
me to the conclusion that racism is truly a 
global problem and very complex. That 
sounds really elementary and it is. I, of 
course, knew these two facts years before, 
but it never seemed so clear to me as it did 
at this moment. It is difficult to describe. 
We then spoke of the war in Nicaragua in 
the 70's and 80's. He made the point that 
when a country is at war, all of the neigh- 
boring countries will feel the effects and 
play them out in different ways. The way 
he spoke of this matter was very profound. 
We also spoke of how even more fucked up 
it gets when a 'super power' gets involved. 
Like in the 80's when the U.S. suspended 
aid. Guatemala just recently (1996) ended a 
36-year civil war, which an estimated 
200,000 Guatemalans were killed and un- 
told thousands disappeared. I learned more 
from that man than I could have ever 
learned from a textbook or any bullshit 

I hope that you cowpokes are inspired 
to learn more about Central American pol- 
itics and equally inspired to travel. It is a 
great learning experience and doesn't take 
too much money. It is also a good reminder 
of how wasteful we are in this country and 
certainly inspired me to take action here in 
the states with our own fucked up prob- 

A HATED bootleg LP!!! I hold in my 
paws what may be the first emo bootleg. 
How many copies? 450. What is on it? 
Eleven songs, only one of which has ever 
been on vinyl! A PAUL SIMON cover as 
well as an EQUALS cover, a HATED/ 
MOSS ICON collaboration, and some items 
from the Simple Machines tape. The gener- 
ous soul behind this comp was growing 
weary of waiting for the Troubleman CD 
version to come out, so this bootleg on the 
real format was put together. The silk 
screened cover brings it all together. I can't 
thank the bootlegger enough for the record. 
Now, let's get a whole bunch more out 

A quick perusal of the message board 
of finds numerous 
complaints regarding the belt buckle that 
THE LOCUST has available for $8 
ppd (Three One G, PO Box 178262, San 
Diego, CA 92177). Moaning abounds about 
style this and style that, that's not what 
punk is about, poo poo pee pee. WHAT 

ASSHOLES??? This belt buckle is one of 
the best things to happen in recent memo- 
ry. It's fucking fun, shows at least a little bit 
of thought outside the standard t-shirt ba- 
loney, and is a bargain as far as belt buckles 
go. Almost as nifty is the CRIMSON CURSE 
80's new wave style button set for $3. 

Escape Artist (PO Box 363, Westches- 
ter, PA 19381-0363) appears to be in the 
habit of doing a CD release first, waiting a 
few months, and then presenting us with a 
sharp looking vinyl format. The ISIS LP 
has all the mosquito-bitten NEUROSIS back 
boned tension frenzy found on the CD of 
several months ago. Therefore, if you can 
wait, who knows, the TIME IN MALTA CD 
might be on vinyl as well. What a wonder- 
ful state of affairs that would be. ..the melo- 
dy infused franticness on vinyl. 
DROWNINGMAN would be a starting 
point for comparison, but that only gets the 
nervous pulse. What about the pretty drone 
of the guitar? This release demands several 
listens, even from the easily distracted (like 

DEATH OF MARAT add a pissed of 
edge to POLICY OF THREE and SHOT- 
MAKER, not that those folks were happy 
pop punkers. On top of those influences, 
imagine some of the Floridian emo-metal 
without the metal, and much more direc- 
tion during the slower grooves. (System, 
PO Box 37041, Phoenix, AZ 85069) 

FRAMMENTI form Italy are still at it. 
The new EP "Corrono Ginocchia Sbucci- 
ate" (Via Lumumba 2, 46029, Suzzara, 
Mantova, ITALY) is tighter then the last 
stuff I heard. In their native tongue with 
guitar picking framing and embellishing a 
thick bass and drum acceleration. Good 
use of melody which lends a lot to their 
darkish mood. 

Hey, it's the GET UP KIDS. Hey, they 
play bop bop bop emo pop. Hey, they have 
a 10" titled "Reel Letter Day" (Doghouse, 
PO Box 8946, Toledo, OH 43623). Maybe 
it's time for a follow-up comp called "How 
The Midwest Was Lost." 

PETROGRAD has had quite the re- 
lease blitz. On this split EP with ELEK- 
TROLOCHMANN, they don't have the 
CRINGER pop of their LP. 50-50 between 
slow dissonant guitar work and rubber 
burning flailing instruments. ELEK- 
TROLOCHMANN borrow some of the 
sparseness and meander through a tran- 
quil song with female vocals. They have an 
upcoming LP on Trans Solar which is ap- 
propriate. (Skank Records, email: 

Long neglected in this column is the 
LEFT COAST/VIC-20 EP. Not fair either, 
considering LEFT CO AST's mix up of fuzz- 
ed out distort with a smooth progression of 
repetition. Where did that come from? VIC- 
20 has a similar, in spirit, approach with 
slight repetitions and measured drive. At 
points NATIVE NOD and 12 HOUR TURN. 
(1333-35 W. Birchwood #304, Chicago, IL 


The EP can be such a kind format. 
Only so much time allowed to a band and 
only demanding that much time from the 
listener. These factors have me preferring 
the CASKET LOTTERY on their new 
EP (Undecided, 10695 Lake Oak Way, Boca 
Raton, FL 33498) to the CASKET LOTTERY 
on their recent CD. Good back and forth 
with the guitar and bass with the drums in 
between creating a thickness that I don't 
expect from a midwestern band anymore. 
Vocals are a bit MONORCHID, but not as 

LP is from the home of the LAST MATCH, 
DS-13, and YUPPIECRUSHER EPs, but 
more of a step-child then full blooded In- 
sect. (Postfack 58, 1 16 74, Stockholm, SWE- 
DEN). DIM REFLECTIONShasafolkmeets 
LIFE BUT HOW TO LIVE IT? sound. A bit 
jangly with tricky time changes and guitar 
tweeks. ASHRAM has more of a straight 
forward quality. Resonant bass with terse 
guitar work. If the fella who was in 
THE SOUND OF TRAINS had a band in 
between I could see ASHRAM being that 
band. Don't tell DIM REFLECTIONS but I 
like the ASHRAM side better. 

STARS EP has me thinking I mistook Dim 
Mak for college rock. This EP has a full 
blooded emo-core pulse with masterful 
vocal trades of harsh angst and tuneful 
crooning. Two song EP at 45 so no room for 
superfluity. ($3ppd: PO Box 14041, Santa 
Barbara, CA 93107) 

Also new from Dim Mak is The Pickle 
Patch CD comp. Quick background: the 
pickle patch was the home of several peo- 
ple in southern California where numer- 
ous all ages show took place, until quite 
recently. This CD showcases live songs of 
well over a dozen bands that played there 
and has a newsprint booklet with the writ- 
ings of those who lived there, visited, and 
played. Oh yeah, and lyrics. Among the 
PIT. ($8ppd: Dim Mak) 

All fans of emo-violence on the non- 
Florida side of the Atlantic should be con- 
tacting Enslaved (PO Box 169, Forster 
Court, Bradford, West Yorkshire, BD1 2UJ, 
UK) for the European version of the 
cover is different but within still lies a 
spasticness that only folks from Florida 
seem capable of controlling so well. 

I don't know that I am all that im- 
pressed by the JAWBREAKER compari- 
sons that SMALL BROWN BIKE has been 
getting. I think that they have a base sound 
that fits on No Idea (pre-hardcore output) 
but with more attitude. Suppose RADON 
had listened to a lot of BLITZ and didn't 
pick up on the music influence, but did 
decide that nobody was going to give them 

anymore crap. "Our Own Wars" LP. ($7 
ppd: No Idea, PO Box 14636, Gainesville, 
FL 32604) 

Buying guide: HATED LP, 
CUST belt buckle, END OF THE CENTU- 

All emo items of interest to: Post Of- 
fice Box 170482, Frisco, California 94117. 
Email: (no auctions). 


! Rama Lanaft, 
; FuckY*> ... 

The easiest way to start a fight is to try 
to throw some kind of definition on some- 
thing everyone has an opinion about. A 
case in point isTim Yo's d ictum about what 
is or isn't punk rock. Five or six yeas ago, 
when Tim laid down the law on what would 
be considered by Maximum Rocknroll, he 
not only narrowed the strictures of punk, 
but, for a lot of folks, shifted its definition. 

For a long while, punk, to MRR and 
others, was an adjective, like "maximum" is 
before "rocknroll." As close as it got to a 
noun was Reno's Wrecks definition: Punk 
is an attitude. However the shift from ad- 
jective to noun meant that MRR would 
now consider style over content, over atti- 
tude. As Tim argued then, there is some 
logic to this reasoning: Indie rock band that 
took up opposition politics, politics that 
some considered punk, were in a musical 
sense not punk. Fine. I thought Rain Like 
the Sound of Trains blew, too. However, in 
setting rigid rules on what is or is not punk 
musically, what we call punk became calci- 
fied. Instead of an adventurous, energetic, 
threatening music, punk has turned into a 
boring, play-by-numbers, contest of mim- 
icry. What is covered in Maximum Rockn- 
roll (and Hit List and Punk Tlanet and 
Heart Attack) is not maximum rocknroll. 

My friend, Ryan Wells, and I often 
point out to each other that there are an 
awful lot of good sounding punk bands out 
there but, really, there are few good ones. 
TherearehundredsofKilled-By-Death style 
punk bands pounding out fine sounding 
sets. Hundreds more good sounding Oi 
bands adding their chants to that subgenre. 
A thousand garage and instro bands turn- 
ing out flawless renditions of Back-From- 
the-Grave punk. Superb crusty/politico 
groups giving us their thoughts, faster and 
faster, about the political issues of yester- 
day and today in carefully crafted slogans. 
And now seamless power pop/punk, glo- 
rious glam punk, nalacious hard-rockin 
punk, and excitingly exact No Wave/ 
Rough Trade-style outfits. All of itSOUNDS 
good. However if punk is an adjective, if 
punk means pushing the boundaries, hit- 

ting extremes, taking chances: none of it is 
punk. Or as Ryan said to me after I played 
him a horrid Kim Fowley-produced psych 
band called St. John Green, "Hell, I'd rather 
listen to this than the shit that's coming out 
now. At least these guys had a vision." 

Lest you think punk orthodoxy is not 
restrictive, here is a list of bands that are 
considered punk (or were at the time) who, 
if they presented themselves today, would 
not make the cut in tight ass world we call 
"punk": Savage Republic, the Birthday Par- 
ty, Big Black, Black Randy, Pere Ubu, Devo, 
the Contortions, the Mekons,Gangof Four, 
Blurt, Twinkeyz, 100 Flowers, the Mirrors, 
the Styrenes, the Normal, the Slits, PiL, the 
Only Ones, 1 /2 Japanese, Saccharine Trust, 
Neu, Can, DAF, Killdozer, G'dou...and the 
list goes on. There's a great chance a band 
as important to punk as the Cramps would 
be ignored, shunted off to some "Oh yer 
rockabilly" corner. Fast forward to the 
present and a band like Caroliner, who is 
the epitome of punk, is persona non grata 
to the orthodox. 

Punk as a noun does not challenge. It 
pushes no buttons. It is no threat. I don't 
consider revisiting No Wave or Rough 
Trade a challenge. Fighting for the right to 
use the word "fag" pushes only shallow 
buttons. "Walking down the street/Boots 
on my feet/Working class is neat/Oi Oi 
Oi" is not a threat. You want something that 
is punk, punk as in "punk is an attitude," 
punk as in punk as an adjective meaning 
extreme? You want something that is max- 
imum rocknroll? Okay. I give you Marilyn 

Marilyn Manson challenges: Musi- 
cally (I'm talking "Mechanical Animals") 
they plunder everything from T Rex to 
Bowie to Alice Cooper to Sonic Youth to 
Nine Inch Nails to the Dust Bros. Sure a lot 
of it is rehashed stadium rock, but they 
mish mash that with everything from "Al- 
addin Sane" to the "Ballad of Dwight Fry" 
and then add their own twist. They also do 
it with humor: Tons of it. Manson's lyrics 
are no Gil Scott-Heron or John Langford 
but they are certainly more relevant in their 
subject matter (Prozac, alienation through 
technology, the suburbs effect of the soul/ 
psyche) than your average pop punk or 
street punk band . Your mental wheels turn 
a bit rather than just grind to a halt while 
you sing along to some idiot fake-77 band's 
newest ode to the heroin-crazed days they 
never lived through. The mass media were 
right when they looked at Marilyn Manson 
after Columbine but they didn't look hard 
enough. If they did, they would have found, 
spelled out, all the reasons why school yard 
shootings occur. 

Certainly MM pushes buttons, more 
buttons than any punk band in recent mem- 
ory. All you have to do is look in the media, 
pay attention to both liberals and conserva- 
tive, and you'll see that Manson is the most 
reviled rock star since Chuck D. With Chuck 
D, MM shares with Ozzie Osborune, Sex 

Pistols, Alice Cooper, and David Bowie the 
utter contempt of the mainstream society 
they lived in. Prior to Columbine, about 
one in five MM concerts were cancelled 
due to public pressure, usually from Chris- 
ters. Certainly MM's management exploit- 
ed the cancellations to pump up the bad boy 
status. After Columbine, MM's whole last 
leg of their US tour was cancelled due to 
death threats and city bans. Their CDs were 
pulled from shelves. Business ground to a 
halt. Their fans suffered at the hands of 
school administrators, parents, preachers, 
cops, and jocks. Thousands of kids were 
shipped off to shrinks because they happen 
to like and relate to a band. When was the 
last time this happened in punk? Don't re- 
member. I'll remind you. 

Punk's final outlaw days were the time 
right before the metal/punk crossover. Two 
bands, Black Flag and the Dead Kennedys, 
scared the shit out of parents, cops, and 
teachers. Both bands (and some contempo- 
raries) had concert after concert shut down 
before and during performances. A right- 
wing shrink named Serena Dank m ounted a 
moral crusade with her "Parents Against 
Punk" organization. Just like in the song, 
"Institutionalized," thousands of kids were 
shipped off for re-education in Utah and 
other hell holes. The anti-punk frenzy 
peaked with the DK's prosecution over the 
Frankenchrist" poster. However since then, 
punk does not equal a threat. Even the side- 
show antics of GG Alin, elicit little more 
than a groan. (GG had a tough time getting 
shows not because he was a threat but be- 
cause no one wanted to clean up his shit and 
vomit.) The last time punk had a chance of 
being a threat, when "punk broke" in 91 /92, 
punk went for the green. (To be fair, since 
1984, there ha ve been challenges within punk 
most notably Bikini Kill & Bratmobile's fight 
for women's space within the male grave- 
yard of punk.) But now? 

Mom picks up the phone and dials. 
Mom: "Hello, Reverend Appleton. We have 
a problem." Rev: "Oh, Mrs Wilton, is it Suzy?" 
Mom: "No, no. Suzy is fine. I mean still has 
blue hair but she is now a p ublicity agent for 
a whole bunch of punk bands and record 
companies. She is making a lot of money 
and doing just fine. She even gets bands on 
TV!" Rev: "Richie?" Mom: "No. Richard has 
a mohawk but he is making a lot of money 
selling anarchy stickers. And he just got a 
contract to write a guide to punk business. I 
think he'll turn out to be a good Republi- 
can." Rev: "Then its little Timmy.'' Mom 
(sobbing): "Yes, Timmy wants nay-nays." 
Rev: "Excuse me?" Mon (voice rises): "Tim- 
my wants BOOBS!" Rev: "Boobs?" Mom: 
"He's been listening to that awful Marilyn 
Manson and now he wants tits!" 

That is where we are today: Punk 
rock, a barely living corpse of has-beens 
and copy cats, molding away in its noun- 
status while rocknroll moves forward scar- 
ing the shit outta parents, frightening 
preachers, and pissing off cops. If punk is 

to truly be maximum rocknroll it has to get 
its head out of the past, stuck in form and 

fenre ghettos, and try to break down some 

Letters and comments to Scott Sori- 
ano/ 1 1 14 21st Street/Sacramento, CA 95814 
USA DO NOT send me your 
playlists, advertisements, show announce- 
ments, etc. I don't care. 


Their SATs may be OK, but Colum- 
bine High School has failed basic compre- 

Early warning signs of militant stu- 
pidity were there in June, when Littleton, 
Colorado officials were considering memo- 
rials to the shooting victims. No one in a 
community of so-called Christians thought 
that the two shooters, Eric Harris and Dylan 
Klebold, ought to be included in plans for 13 
marble angels or 13 crosses. Then, on Au- 
gust 16th, the site of one of the worst massa- 
cres in recent memory opened its doors to its 
2,000 students with, of all things, a fucking 
pep rally. 

Massacre recap: On April 20th, Harris 
and Klebold, bullied repeatedly by asshole 
football players in a lily-white suburban 
school that worshipped jocks and sanctioned 
the systemic ridicule of the slightest forms 
of nonconformity, lost their minds and shot 
up a bunch of their classmates before killing 
themselves. By most accounts the killers 
saved their bullets for bullies while telling 
other kids to leave before they got hurt. 

So here we are, not even four months 
later, and the dimwitted administration of 
Columbine High School and their coterie of 
moronic parents are cheering wildly to all 
the vile accouterments of jock culture. Cheer- 
leaders waving pompoms filled the first few 
rows of an outdoor pep rally filled with 
parents and students wearing identical "We 
Are.. Columbine" T-shirts. Parents formed 
a "human shield" to protect their kids from 
the media, which must have seriously 
bummed the scores of students who still 
have Dan Rather's cell phone number. Stu- 
dent body president Mike Sheehan provid- 
ed evidence that annoying personality traits 
are fixed early in the process of human 
development: "It's so great to look out and 
see so many of you here today and to take 
back our school." What is this, a Take Back 
The Night rally? 

Thank God for that three-day waiting 

It's precisely this kind of pressure to 
conform that led to last spring's massacre, 

but that didn't stop the school's football 
coach from telling CNN that jocks (he calls 
them "athletes") are oppressed by kids who 
don't dress properly. 

Once the Nuremberg-style rally was 
over, students entered a building that has 
been carefully sanitized of its physical and 
psychic stains. The bullet holes have been 
plastered up, the bloodstains have been 
painted over and the library, the main kill- 
ing site, has been sealed off by a fresh wall of 
lockers, its bloodied books burned. 

"We want students to feel good about 
being back here," says Jack Swanzy, direc- 
tor of planning for the Jefferson County 
School District. "If students can walk down 
these halls and not cringe, we feel we've 
been very successful." 

A little cringing never killed anybody. 
While keeping the school in a state of disar- 
ray would have been pointless, leaving a 
few bulletholes or bloodstains behind (per- 
haps with an explanatory plaque) might 
have served as a cautionary tale for future 
bullies and their victims. But we live in 
ahistorical America, where no one will blink 
at mounting a trophy cabinet to house the 
reliquaries of jockdom on walls where teen- 
agers have died. 

Those who claim that their faith is 
your business spent the night before the 
Return at a special back-to-school evange- 
listic rally (there's that jock thing again!) for 
3,000 loud believers at an amphitheater near 
the school/crime scene. Speaker Bart Cam- 
polo of Philadelphia said: "You'd better 
believe that good overcomes evil or I don't 
know how you can go back to school." 

Massacre recap deux: Harris, 18, and 
Klebold, 17, were not the living incarnations 
of Ba'al, the Antichrist, Mephistopheles or 
his southern sobriquet, Old Scratch. They 
were kids — confused, angry, shortsighted, 
dumb kids. And their 13 victims were not 
the Living Embodiment of Innocence. They 
were kids too, with all the good and bad that 
that entails. 

Hours after the self-congratulatory pep 
rally, three swastikas appeared, scrawled in 
the school's bathrooms. "It hurt," parent 
Tammy Theus said. "The rally was great. 
They've made changes in the dress code, 
like not allowing trench coats. Then I see 
this. It's like they are laughing in our faces, 
'Ha, ha, school's back in session and so are 
we.'" Perhaps. Or the graffiti could be a 
protest against a school in denial about it- 
self, a community incapable of admitting 
that its core values are corrupt, hollow and 
hypocritical — in the simplistic parlance of 
the adolescent, fascist. 

Meanwhile, a state panel has been con- 
vened to help law enforcement agencies 
coordinate their responses to future Colum- 
bine-like tragedies in the Denver area more 
effectively. Based on reports from Littleton, 
they'll be needed sooner rather than later. 

Send stuff to: Ted Rail, PO Box 2092, 
Times Square Station, Neiu York NY 10108, or 
e-mail to: 

^giitei,,-- ** 

■m&i- '";. 

What is it with the persistent rumors 
that some Hollywood Agent ("I'll be at the 
Millionaire's Club, on the lower level. If 
you don't see me, just ask the maitre d' 
for.. .the Devil, moo noo ha ha) has clinched 
the deal for the supposedly "long-await- 
ed" Darby Crash biopic? 

I won't bother with my personal in- 
ability to fathom the legendary status ac- 
corded the Germs (although a large part of 
it no doubt stems from being impressed by 
how awful they were, even in comparison 
to the legion of awful bands I saw that year, 
and I suppose they were rather better by 
the time they had a few records out, but 
still...), a characteristic that has embroiled 
me in many an impassioned and fruitless 
discussion (even by my conversational stan- 
dards), as even true ARTISTIC GREAT- 
NESS (accented by the crown of Apollo 
{haven't used that one in a while)) is no 
guarantee that an interesting story lurks 
anywhere in the vicinity (as Vm confident 
any persons bothering to acquaint them- 
selves with the bios of a couple of handfuls 
of randomly chosen creative achievers will 

Of course, there may be some partic- 
ulars of the little fella's life that are abso- 
lutely enthralling despite that when an ar- 
ticle which appeared a while back in an 
LA. weekly (it might have even been the 
L.A. Weekly) attempted to make a conun- 
drum out of the lack of green-light interest 
accorded either of the attempts at making 
the punk rock "A Star Is Bored," all the 
author could offer by way of illustrating 
the "everything Hollywood looks for" in 
The Greatest Story Never Told was "gay 
junkie in the early punk rock scene." 

Maybe I don't get out to the movies as 
often as I should (it was only recently that 
I got around to seeing "Babe 2: El Puerco 
Valiente" and "Candyman," both highly 
recommended {especially if you've got any 
nephews/nieces to whom you'd like to 
give nightmares), but I'm not aware of a 
great many blockbusters utilizing any of 
those themes. Not even attempted block- 
busters, in fact (unlike that flood of cine- 
matic sewage a number of years ago in- 
volving old people becoming young and/ 
or vice-versa {I only saw about half of them; 
after "18 Again" with George Burns, I knew 
that I had seen the theme dealt with in as 
sick yet ludicrous a manner as possible}). 
Reacting the article, I just couldn't believe 
that anyone would really find the lack of 
interest that puzzling. 

But even putting aside the issue of 
lack of interest that the any Mega-Culture 
Corporations (and still begging the issues 
of worthiness of the cockamamie idea in 
the firstplace), why would even the biggest 
fan of the Germs or the L.A. punk scene 
care about a Hollywood version being 
made? Be there folks idiot enough to actu- 
ally think that this is a Good Idea? I sup- 
pose that there might be somebody, some- 
where, who enjoyed "Sid and Nancy" and / 
or the near-complete fictionalization of "La 
Bamba" (wherein only the names weren't 
changed and almost everything else was), 
but was anyone with half a noodle actually 
awaiting them? I don't know, maybe I just 
read too many books. 

The only explanation I can offer is 
that some doony idiots crave the legitima- 
cy that they think is afforded by a milieu 
being used as grist for the Hollywood mill 
and that the "Look Ma, I'm on tv!" thrill 
overrides any objection to seeing the dis- 
tortion of history up close and personal. 

By way of illustration, I can offer the 
following anecdote. Being ditched just be- 
fore a weekend date (no need for explana- 
tion here, I'm sure) and unwilling to eat the 
nonrefundable round trip tickets to 
San Diego, I wound up spending a long 
(and surprisingly cold) weekend in San Fe- 
lipe. While taking advantage of some hap- 
py hour drink specials, a retired some- 
thing-or-other from Los Angeles struck up 
a conversation. 

Although I generally avoid conversa- 
tions with strangers (especially in bars, 
where I find the standard topics especially 
unengaging), my resistance broke down 
rather quickly (probably owing to the mo- 
roseness of my meditations) and I found 
myself going out to dinner with three gen- 

For some reason, the topic of punk 
rock came up (I certainly didn'tbring it up) 
and I, in turn, referred to it in some oblique 
way as a formative adolescent influence. 
The youngest of the other members of the 
dinner party, a well-groomed longhair, said 
something along the lines of, "Punk rock 
was fucked up. It was just leeching off of 
what we did in the Sixties." 

Since I assumed thathis "knowledge" 
of "punk rock" was derived at great dis- 
tance (maybe "Class of 1984" and "CHiPs" 
at best) and since I furthermore had no 
desire to anoint myself a punk rock apolo- 
gist, I let his remark pass. 

Then, in an apparent attempt to trump 
me, he asked if I nad seen "The Doors" 

I was amazed that he would hold this 
obviously wrong-headed piece of bullshit 
up as the testament of the era to which he 
was still so strongly attached. Ready to use 
it as a demonstration of the dangers of 
using mainstream cultural representations 
of subcultural phenomenon (and history in 
general) as factual evidence (the movie was 
fresh in my mind as I'd seen it {for free, 

mind you, and just to look for Tom Guido 
and Ron the Ripper as extras) just the week 
before), I replied, "Yeah. Did you?" 

"Man, I didn't HAVE to see it, I 
LIVED through it." 

Which certainly left me speechless. 
Incidentally, I wound up making up for the 
balance of the bill when someone (I've got 
my suspicions as to who) didn't toss down 
enough pesos. 

Fuck hippies. 

"Come on everybody, we're moving to Port- 
land. " 

-The Dead Milkmen 

It's close to the end of summer (though 
you could hardly tell judging by how frig- 
gin' hot it is here, or by the number of flies 
swarming around me right now) and it's 
always a weird time of the year for this 
area. Typically, a lot of people I'm close to 
are only around WI for the summer and 
then it's off to a different part of the world. 
This year, however, there's an unusually 
large number of friends and acquaintances 
leaving The Dairy State. 

It seems like a long time ago when I 
found out that my friend Katy was leaving 
this fall. She went on a big adventure earli- 
er this year and came back with word that 
she was moving to Portland, OR. It wasn't 
very long after that when Jacqueline told 
me of her plans to wed and move to Port- 
land. Then, towards the beginning of sum- 
mer, a group of really close friends came 
back from the Asylum Gathering with the 
announcement that they too were going to 
be moving to Portland. Damn, this was 
starting to get downright bizarre! Last night 
put the explanation point on the end of that 
sentence. We had a show at Insight (our 
local infoshop, for those of you that haven't 
heard of it) and His Hero Is Gone was 
supposed to play. However, they didn't 
play because tney broke up (sniff, sniff). As 
it turns out, 3 of the former members are 
packing up and moving to (you guessed it) 
fuckin' Portland. What is going on up 

Now, I've never been to Portland (or 
anywhere else in the Northwest), so I don't 
have a single bad thing to say about it 
(except maybe, "Hey Portland, quit steal- 
ing all of my friends!!). In fact, everyone I 
know that's ever been there usually has 
very good things to say about it. But the 
purpose of this column has nothing to do 
with Portland. It's about leaving. 

All of these Wisconsin punks that are 

leaving are very active people in our local 
scene. They've helped ouild up and run 
Insight which, while being far from perfect, 
is a Deacon of positive energy for a lot of 
kids around here, myself included. A good 
portion of these folks have also been in 
bands, have helped in the updating (or in 
Susie's case — the creation) of the Wiscon- 
sin Punk and Hardcore website, etc. Keep- 
ing in mind that I'm from the bumfuck 
north woods of Wisconsin, the scene here is 
not that large. However, with the resources 
that we have, I feel that we've started some- 
thing big. (And, in the sake of fairness, 
that% not to say that there weren't others 
around before all of us. I don't want to 
make it sound like WE started everything 

f>ositive around here, because we didn't) 
t's kind of disturbing to realize how much 
of an effect it will have on our scene when 
this handful of people leaves. 

And so, naturally, this has become a 
serious issue for those of us left to hold the 
torch (sorry, I know that sounds cheesy). 
There has been a fair amount of backlash 
against these folks. In the eyes of many, 
they're 'ditching their scene and moving 
to a 'punk Mecca.' At first, I couldn't have 
agreed more. I simply could not under- 
stand why all of these smelly bastards were 
leaving just when things were starting to 
pick up and get interesting. I've heard it 
said plenty of times that punks should quit 
moving to these 'hot spots' and concentrate 
on improving things where they're from. I 
definitely agree with that logic. Like I said, 
this 'moving to Portland' syndrome is go- 
ing to leave a serious dent in our scene, 
mostly because a lot of these kids played 
such a large (and positive) role in shaping 
what we now have, so I was rather bummed 
when I started hearing about their depar- 
ture. Notjust because they weren't going to 
be around anymore but also because that 
their planned disappearance will leave just 
a little bit more for the rest of us to do. 

In thinking about their decision to 
move, I remembered myself when I gradu- 
ated from high school. The first thing on 
my mind was getting out of Chippewa 
Falls. After a brief (and vaguely memora- 
ble) stint at college, I moved to Colorado. I 
would end up spending nearly 3 years 
there and return home with a significant 
number of good memories and a new take 
on life. It was when I returned that I fell in 
love with Wisconsin. There's a ton of natu- 
ral beauty around here and a general 'laid 
back,' friendly attitude towards life that I 
hadn't really recognized until I had spent 
some serious time away from it. Further- 
more, Colorado (or more specifically Boul- 
der, CO) had a much more 'liberal' way of 
life and that helped me gain some insights 
on how to go about making things better 
once I returned here. 

So, after rolling that over in my head, 
my perspective has changed. I left Wiscon- 
sin, and I returned a happier person. I have 
no idea what my soon-to-be-distant friends' 

plans are as far as ever returning here. I'm 
sure that they don't know either. All I know 
is that they will continue to be awesome 
people wherever it is that they're at and, if 
they ever do come back, they'll have all 
sorts of fresh ideas for the rest of us (assum- 
ing that we're all still here). Most of all, I 
don't want my friends to remember me as 
'that guy who wouldn't stop bitching about 
us leaving.' I'd much rather be remem- 
bered as that guy who said "Good luck. 
Have fun. Enjoy yourselves. I'll miss vou." 

1. Goodbye Susie! Goodbye Katy! Good- 
bye Erik, Emily, Dawn, and Jason!! Damn. 

2. Old Barn Punk fest was here and it was 
bizarre. Go to the News section of this mag 
and read my little blurb on it. 

3. 1 don't get a whole heck of a lot of mail at 
P.O.Box 504 Chippewa Falls, WI 54729. I 
wonder why. ..does anyone even read this 
thing anymore? 

Welcome to three-demos-to-review 
month. So here we go. FIRST TIME FEL- 
ONS are a no-surprises pop punk band. 
Love songs and "I'm not in love anymore" 
songs. The demo includes a straightfor- 
ward cover of The KKK Took my Baby 
Away. 7 songs, decent production, no lyric 
sheet. Napalm Ape P.O. Box 2510, Pt. Char- 
lotte, FL 33949. Napalm Ape are a label, I 
suppose, and have put out a tape sampler. 
Only two of the ten bands (CHACHI ON 
tribute unreleased songs. The rest are avail- 
able elsewhere, which you would think 
would unqualify this as a demo, but it's 
three review month. Two review month 
would be even worse, so I figured why not. 
A range of modern punk, from the chunka- 
chunks guitar of NOBODY CARES to the 
straightforward anthemic basic punk NO 
FRAUD to the duel male/female vocal 
hardcore of AISLE 9 COLLECTIVE. 10 
bands, 10 songs, varying production from 
okay to bad, no lyric sheet or contact infor- 
mation for the individual bands. $2. Na- 
palm Ape, P.O. Box 2510, Pt. Charlotte, FL 
33949. SOCIOPATH is two guys, and a 
drum machine. Dirge and noise, different 
tempos. 12 songs, decent production, no 
lyric sheet. 1701 Turk St. #8 San Francisco, 
CA 94115. That's all for this month. Now 
the demos go to KBOO (Portland's com- 
munity radio station, 90.7 FM) for the week- 
ly punk rock radio show, Life During War- 
time, Wednesday night 12:30 - 3 a.m. Send 
demos! P.O. Box 1113, Portland, OR 97207. 


and counting 

Jk. column by 

"Wash you hair!" "Take a shower!" 
"Cut your hair!" 

This is just the beginning of the BS I 
hear every day. My reply is your typical 
"Fuck You", but what else can I do? 

I am sitting in a cell in one of the many 
castles in the vast kingdom of the "Ameri- 
can Justice System." Yeah, I probably de- 
serve to be here. Let's just say I stole x 
number of cars and got caught x number of 
times and therefore lam domg x number of 

So, I've been sitting in cells for over 
two years trying to get somebody to send 
me some DOOM or Napalm Death (or any- 
thing) and thinking. Sharing in my oppres- 
sion are my two co-authors: Xac (I 'm pretty 
sure you spelled that wrong) and Wally 
(Jeremy,The Brick) Wahl. 

Here in Washington, the Federal Gov- 
ernment sublets this prison (among others) 
to the Washington State Department Of Cor- 
rections (DOC), who does not have as strict 
of humanitarian standards (like water test- 
ing and regulation for prisons). This is one 
of many facilities we Know of that have 
known contaminants in the water supply 
(that is why the Federal government was 
forced to give up this Island, back in the 

We are lucky enough to have some 
people like: Families of Prisoners - Civil 
Rights Foundation, PO Box 196, Redmond 
WA 98073-0196, who are bringing a suit 
against the Washington State DOC on is- 
sues like the heavy taxation of all money 
sent in from our friends and families (if you 
are one of the guys /girls who are lucky 
enough to still have "people on the "streets"). 
They are also fighting the outrageous tele- 
phone rates our families are charged by 
companies like AT&T and US WEST, who 
kick a percentage (millions of dollars per 
year) back to...yup, you guessed it, the good 
ol' Washington State DOC But (I know it is 
bad grammar to start a sentence with but. 
But..!) somebody needs to help fight for 
some water standards /testing. We see vic- 
tims of lead poisoning, etc. all around us - 
those unfortunate enough to be exposed for 
long periods of time. 

The levels of censorship here are ex- 
treme. All mail, incoming or outgoing, is 
rigorously inspected. God forbid your wife 
or significant other (if you happen to have 
one) should write you a sexy letter to keep 
your spirits up and they read it... We aren t 
just talking what you write or are written, 
they also censor who we write to. It is strictly 
forbidden for us to write our brothers or 

sisters in other institutions throughout the 
land, and we are only allowed to visit the 
family and friends that have passed the 
meticulous visitor's screening. 

Want to hear more? How about the 
rejection of any and all mail sent "Bulk 
Rate", whether it's a paid subscription, an 
ordered and paid-for catalog, or a legal pub- 
lication. Even those not sent bulk rate are 
rejected seemingly on a whim. Playboy: 
you're lucky to see 8 out of 12; Prison Legal 
News: one issue was recently blacklisted 
(because it talked too much smack about the 
Washington State DOC). 

Now, we have it better here in Ameri- 
ka than quite a few other countries, which 
brings us to the conclusion that someone 
should probably stand up for those peoples' 
rights as well. Are we thinking Amnesty 
International, or what? You tell us. If we are 
right, please send an address and/or infor- 
mation for them or any foundation, faction 
or collective who is likewise motivated/ 

There are almost 2,000,000 people in 
prison in the United States alone. Now, 
many of these people deserve to be here, but 
a small percentage do not (us, for instance). 
Of the ones that deserve to be here, a small 
percentage is taking action to change their 
fives. These people need your support and 
correspondence to make these changes pos- 
sible. Without that support, these people 
will stay bound by the racism, gangs and 
drugs (among other things), that got them 
here in the first place. So, write your broth- 
ers and sisters for even adopt a con (check 

For those or us that want to escape into 
a world of music, little relief exists. There 
are only two companies we can order tapes 
from (no CDs, no vinyl). Clear cassettes, no 
screws, one explicit lyrics advisory and it's 
history. Even the tapes we may already own 
on the streets cannot be sent in to us, Distrib- 
u tor Direct Only! The occasional copy /com- 
pilation can be smuggled in by being marked 
Letter Tape," but you have to have people 
willing to take the time to create such tapes 
in the first place. 

The few "alt" types try to share what 
little we have (music and information, which 
is against the rules) and we have little to no 
access to "alt" music, punk to political met- 
al. So we ninja our way in to the music room 
to play, when we can (because we don't 
have the funds to pay), but we are music 
junkies (maybe some of you can sympa- 
thize). So if you have some DOOM, ND, 
Blatherskite, Bruieria, Nausea for Keith; 
Propaghandi, Rickets, Fugazi, Blonde Red- 
head for Xac (Zach); or Misfits, NOFX, Min- 
istry, RAGE, Black Flag for Wally 
(Jeremy). ..or anything remotely similar to 
that stuff, send it along. We would greatly 
appreciate and reply to any and all corre- 
spondence (any tapes sent must be marked 
"Letter Tape"!) Peace and love, The Ameri- 
kan Way -through intimidation and superi- 
or chemicals, 

Keith Kallberg (#731994 B-335), or Zachary 
Karmen (#787624 D-l-36), or Jeremy Wahl 
(#768417 B336), McNeil Island Corrections 
Center, PO Box 881000, Stielacoom, WA 



Knifings and Anarchy 
in the Haight Ashbury 

There I am minding my own business, 
reading the latest issue of Doris fanzine 
(which you should already own) behind the 
counter of our local Anarchist book shop, 
Bound Together when out of the blue, a 
bottle hits the nice new car parked right out 

Big deal right? It's Haight St, the sum- 
mer of love is long over, and the street is 
now populated by many sad characters. 
Those left over from the sixties, those who 
wish it still was the sixties and the ever 
gutter punks. Bottles are flying everywhere, 
tourists dodge them every day.. I barely 
look up. Then the guy who I assumed threw 
the bottle (from now on we will refer to this 
wonderful gentleman as bottleman) tackles 
a shirtless older Asian man (from now on 
referred to as shirtlessman), who from my 
time in the neighborhood, I know lives in 
the halfway house on the corner. Shirtless- 
man escapes Bottleman briefly and Bottle- 
man, cursing Shirtless man, grabs Bound 
Together's big, heavy sandwicn board sign 
( you know the ones stores keep on the street 
to pull in those all important tourist dollar), 
and lifting it over his head, chases Shirtless- 
man down the street. 

Fucking great. Now I'm involved. I 
run out of the bookstore, and being the 
stupid shit that I am, ask bottleman man in 
no uncertain terms to "give me my fucking 
sign back right fucking now" or something 
like that. Bottleman claims Shirtless man 
tried to stab him. I tell him I don't care 
(which I didn't) and that I just want my sign 
back and no, he can't bludgeon Shirtless- 
man with it first. 

I duck quickly to the side as Bottleman 
throws the sign at me. He really had no 
chance of hitting me. The thing weighs like 
twenty pounds, and you don t have much 
aim with something like that. I grab my sign 
and head back down the block to the store. 

All our customers are out on the street 
now watching the fracas going down, and 
as I'm putting the sign back up, one of them 
says "you'd better call 911 man, he's gonna 
kill that guy" 

I turn around to see Shirtlessman on 
the ground with Bottleman on top of him 

repeatedly hitting him in the face. Or at least 
that's what I though I saw. I find out from 
the police later that he was actually stabbing 
Shirtlessman in the eye with a fucking knife. 

OK. So there's the situation: This men- 
tally ill dude is getting stabbed in the eye by 
some crazy fucking street person who is 
probably hopped up on something by the 
way he just picked up and ran with the 
fucking sandwich board. I'm in a potion 
where I've gotta do something. I either A, 
get the baseball bat we keep behind the 
counter go outside smash Bottleman in the 
head with it, and while he is unconscious, 
have a consensus meeting with my fellow 
workers on Haight St to figure out what we 
are going to do with him, or I call the cops, 
most hated of all anarchist enemies, and 
they deal with it. I've got a second or two to 
figure out what I'm going to do so they're 
really isn't time for a strategy meeting. I 
make the call. 

Maybe in a more prefect world. Or 
even in a world where I though somebody 
would back me up for hitting the dude in the 
head, I would have gone after him. Maybe if 
I thought there was any sort of community 
based around cooperation on Haight St, 
that would have been the right thing to do. 
But there isn't. Not yet. So I go with the 
embarrassing plan B and call 911. 

911 is still ringing ( I don't call911 that 
often but five or six rings seems an awful 
long time to wait for a response) when the 
cops show up and pull the two guys apart. 
They don't smack Bottleman in the head, 
(though they threaten to after he tries to 
attack one of them ), they cuff him and sit 
'em on the ground. They call an Ambulance 
for Shirtlessman, and he gets taken away. 
Still breathing, but not looking too good. 
Bottleman goes away in the back of a squad 

Too often in the debate around law 
enforcement and community policing in the 
Anarchist community, the discussion is shift- 
ed away from the incident and onto it's 
cause.For example, if I were to ask Joe Anar- 
chy about what he would do in the same 
position I was in, he'd probably switch it 
around and explain to me the fact that cap- 
italism is what pits us against each other in 
the streets with sandwich boards for weap- 
ons, and that what we need is a society 
based around cooperation and egalitarian- 
ism and not a market based rat race. Blah 
Blah Blah. How fucking cares? That's not 
the question. The question is in this isolated 
setting where there is no community to back 
you up and you can either stand up for some 
abstract principal and bash a guy in the 
head and probably go to jail for it, if only for 
the afternoon, or you call the pigs, what do 
you do? I made my decision, but it doesn't 
always sit well. 

I'm a firm believer in mob justice. I 
think neighborhoods and cities should take 
care of themselves and I think that when we 
started letting the state lock people up for 
being thieves instead of confronting them 

with the damage they do to their own com- 
munity is when we started to lose it. 

Still, I'm a realist and I know just as 
well as you that in this society, when some- 
bodies getting stabbed in the eye, you still 
gotta call the pigs, no matter how much you 
don't want to. 

There's about twenty people out there 
who are waiting for Arwen or I to talk shit 
about Mordam this month, since we just got 
done with the yearly convention. I'm not 
going to do that. I will say that the conven- 
tion put into perspective for me how big 
business punk nas become, and that outside 
the rhetoric, there's plenty of people out 
there who are in fact not doing it for the kids. 

Still I'm amazed at how little all the 
money has gone to Mordam's head, and 
they should get kuddo's for that. 

The more important thing about this 
convention was all the talk about the inter- 
net, and downloadable music. This is going 
to change the whole ballgame in the next 
couple of years (look out for more on this in 
upcoming issues), and it'll be fun to watch 
aU the majors (and some of the so called 
"indies") scramble to protect their musical 
investments from fourteen year olds with 
CD burners. 

Remember loyal readers, home CD 
burning is killing the music industry. 
This You Should Pay Attention To: 

1. Thanks to Ruth and the team at Mordam 
for feeding me so much yummy lasagna 
and bagels, the way to a labels heart is 
through their stomach. 

2. I'm still sending postcards to people, sent 
me your address and you'll get on too. 

3. 1 can still be reached at 1369 Haight St, SF, 
CA 94117 / 
4. Rock N Roll ain't noise pollution. 


What a busy month it's been. I was 

Fone for a good part of the summer and now 
have tons of work to catch up to. I have to 
finish an "incomplete" from last semester. 
I'm editing a special issue for the journal 
Social Justice on the militarization of the 
U.S.-Mexico border. I have to finish a short 
story that I promised to write for a friends' 
zine. Got many letters and emails to re- 
spond to. What will make this semester 
even busier than all the previous ones will 
be that I will be a GSI (graduate student 
instructor) for an Ethnic Studies class here at 
UC Berkeley. Apart from the two (required) 

seminars that I'm taking, I will responsible 
for teaching two sections with about thirty 
students in each class. I look forward to this 
challenge. But, what I really look forward to 
is having the opportunity to work closer 
with Prof. Ronald Takaki, my mentor, col- 
league, friend, and comrade-in-arms. One 
of the founders in the field of Ethnic Studies, 
Ron has been a professor in the Compara- 
tive Ethnic Studies Department at UC Ber- 
keley for over 25 years. 

After meeting with Prof. Takaki about 
all the logistics andthe readings for the class 
we will teach this semester-"Racial Inequal- 
ity in America: A Comparative Historical 
Perspective"-we decided to get some lunch 
near the campus. Over the years, Ron and I 
have gotten to know one another both in 
terms of our scholarship and as activists on 
campus. I got my BA here and afterwards, 
Ron recommended that I apply for the Ph.D 
program here at Berkeley. He wrote me a 
Fetter of recommendation and helped me 
with my 2-page "statement of purpose." I 
got in and started school right away. Ron 
and I have hung out and talked before (i.e. in 
non-academic terms where school-related 
stuff is not always the topic of discussion) 
but it had been a while since we last saw 
each other. "We were talking earlier about 
solutions to the structural problems related 
to globalization and racial inequality," Ron 
tells me. We start old conversations. "De- 
industrialization, the rise of the U.S. high 
tech industry, automation, and growing 
militarization of society; these are all prob- 
lems that we as activist-scholars must not 
only address, but, transform." I sit and lis- 
ten as Ron maps out his questions in relation 
to academia and to the larger society. I make 
the connection between the research and 
the question/s that intellectuals-and notjust 
limited to those in academia-pose and how 
they relate to the particular time and place 
in which they are made. The intersection of 
biography and history, as the sociologist C. 
Wright Mills would argue in his The Socio- 
logical Imagination, can also be a way of 
looking at intellectual production. I have 
always thought of Ron as genius so when 
Ron told me that there were certain things 
about globalization that he didn't under- 
stand and asked me to explain, I was kind of 
surprised. What got my attention the most 
was how humble Ron was in admitting an 
important fact about intellectuals (especial- 
ly in our "postmodern" days): "We are real- 
ly quick to analyze everything and decon- 
struct it," says Ron, "but, we are less suc- 
cessful in proposing realistic solutions to 
today's problems." He asks: "What should 
be our vision of society? What kind of soci- 
ety do we want to live in?" Again, I kind of 
just sit there and listen. So many things run 
through my mind that I don't know where 
to start. I start to remember what mom has 
asked of me to do: to continue going to 
school and continue the research and writ- 
ing on issues related to immigration. She 
thinks it's important for people in the U.S. to 

realize the positive contributions of those 
immigrants who came-and continue to 
come-to this land and decided to make this 
their home. I too realize the importance in 
re-writing history "from the bottom up"- 
where courses like "U.S. History" also in- 
clude the stories of people of color, women 
and poor-working people. But, writing arti- 
cles or books (no matter how important or 
radical they are) mean nothing if one is not 
simultaneously revolutionizing the social 
and political institutions that dialectically 
influence ideas in society. Ron and I agree 
on this, but, the question is how? How does 
one understand the complexities of, for ex- 
ample, the internationalization of the econ- 
omy and propose an alternative to the now 
-taken-for-granted "triumph of global cap- 

Ron, trained as a historian, reminds 
me of the importance in studying the past in 
relation to the present. He writes in the 
introduction to the course syllabus of his 
Ethnic Studies class: "The 21st century will 
witness a tremendous demographic trans- 
formation in the U.S. . . . What will the future 
hold for this expanding and complex diver- 
sity? This question urges us to look back- 
ward in time. History is memory-what we 
remember about the past. But who will do 
the remembering and whose memories will 
be told? There is a master narrative of our 
nation's history: it is the story of a land of 
liberty and of Americans as white or Euro- 
pean in origin. . . We find it reinforced in the 
scholarship of neoconserva ti ves like Nathan 
Glazer and liberals like Arthur Schlesinger, 
Jr. This perspective is not merely an aca- 
demic notion but something pervasive, an 
unnoticed assumption, 'in the air'." 

During our long lunch, Ron and I dis- 
cuss the work of the Italian-Marxist, Anto- 
nio Gramsci and his concept of "cultural 
hegemony." Too many times, Ron and I 
agree, intellectuals who study the material 
and ideological "effects of hegemony" on 
society, forget that the very fields of study 
(anthropology, sociology, political science, 
history etc.) which they use to study social 
phenomena can and does influence the very 
way one begins to investigate and questions 
their "subject matter." All of us in academia 
are implicated in this, don't get me wrong, 
the only reason I mention this is because 
there are many scholars who still claim to be 
"objective" in their search for truth. The 
point here is not to throw the baby out with 
the bath water; one should find it liberating 
of the possibilities in being able to under- 
stand the world (by carefully asking the 
epistemological question: how we know 
what we know) in order to change it. The 
fact that were there is oppression, there is 
resistance, is a historical fact that many his- 
torians omit in historical works. "As I read 
and selected [written testimonies, oral his- 
tories etc.]," writes Ron Takaki in the Pro- 
logue to his book, A Larger Memory "I 
found myself stirred by the ways people 
respond to circumstances not of their choos- 

ing. Always, I was reminded that people are 
history: their experiences, feelings, adjust- 
ments, imaginings, hopes, uncertainties, 
dreams, fears, regrets, tragedies, and tri- 
umphs compose our past." In other words, 
it's time to claim our agency because we are 
not just victims, but actors in history. For too 
long, many historians, including "Marxist" 
ones, have tended to analyze revolutionary 
movements only in relation to the state while 
neglecting the individual ways that people 
have resisted (as Andrea Dworkin remind 
us: "silence does not always mean consent") . 
So, while the work of Gramsci might bring 
us great theoretical insights into structures 
of domination (e.g. "hegemony"), Ron 
would accurately suggest that we look spe- 
cific historical events and then try to connect 
larger social structures (i.e. by using "induc- 
tive thinking" instead of deductive think- 
ing, one is less likely to generalize history 
and more likely to be sensitive to ambigu- 

In an attempt to engage the students 
(in the Ethnic Studies class) with firstperson 
accounts of multicultural America, Ron de- 
cided that we use the following texts in the 
course: Leslie M. Silko's Ceremony, Carlos 
Bulosan's America is in the Heart, Gloria 
Anzaldua's Borderlands /La Frontera: The 
New Mestiza, Mumia Abu-Jamal's Live 
From Death Row, and Ron Takaki's A Dif- 
ferent Mirror: A History of Multicultural 
America. Although all of these stories (ex- 
cept for Ron's book which would be consid- 
ered more "academic") are very different 
and complex in their own ways, they can be 
contextualized in the social, political, and 
economic times that they were written and 
the era they discuss. By exploring the ways 
race, class, and gender intersected the lives 
the different ethnic and racialized immi- 
grants, historians can develop a more accu- 
rate view of U.S. history. As Ron tells his 
readers in A Different Mirror, when histori- 
ans like Arthur Schlesinger, Jr. wins a Pu- 
litzer Prize in "U.S. History" for a book-The 
Age of Jackson-in which tnere is absolutely 
no mention of two important incidents that 
took place during his presidency-the Nat 
Turner rebellion and Indian Removal-in- 
cluding the voices of those are usually left 
out of history is not something you do out of 
courtesy but out of accuracy! 

And, as I sit here and think about the 
section that I will teach, the people I will 
meet, the books we will read, and about the 
political, economic, and social complexities 
embedded in all of these different stories; I 
too try to be humble and ask for help. 

PLE WHO STILL BELIEVED. If there is any 
point to this column is realizing that the geo- 
political changes in the current world econ- 
omy (a whole other column!) have lowered 
the sights of many of us who used to identify 
as folks "on the left" (both in politics and in 
cultural production). THE ENID OF HISTO- 


All of this ridiculous and false state- 
ments can only lead to cynicism and nihil- 
ism (both of which the punk/hardcore 
"scene" and the left-progressive academics 
have, at times, fallen into). As I go back and 
visit my old town (San Diego, Ca.) and see 
many cynical people who claim that hard- 
core is dead. . . ("look at all those bands that 
have sold out punk rock. . . ") I get frustrated. 
Although Prof. Takaki is not a saint, he 
could have "sold out" and wrote many dis- 
cursive texts that contest and disrupt the 
hegemonic discourses of the prevailing no- 
tions of the U.S. homogeneity as a neo- 
colonial imperialist project... WHAT THE 
FUCK? Yes folks, this is current mindless- 
bullshit academic writing that many "post- 
Marxists" and "post-modernists" etc. etc. 
etc. are writing to get published and ten- 
ured. But, what I admire about Ron is his 
DIY approach to his scholarship and the fact 
that he is conscious about the political im- 
plications of his work. When writing a new 
book, he asks: "For whom? And to do what?" 
It is about taking initiative!!! It is also about 
realizing "the left" is not where it used to be 
but, who ever said that we needed to be in a 
revolutionary era in order to be a revolu- 
tionary?! Revolutionary situations are not 
given, they are taken. So to the cynics of the 


NetPunk , 

Mark # — f~#>o^ > 
Hanford^— <3f L 

Wow, it's time for another column 
already. Time is flying by me faster than I 
can control it. I swear that things move more 
quickly here in California than they did 
when I was in Idaho. Or maybe it's just 
because there is more to do (though it d oesn' t 
seem like I do as much). Whatever. I have all 
kinds of net stuff for you this month, some 
of it related to punk, and some of it just 
kinda geeky. 

You've probably already seen reports 
of this in your local paper, but just in case 
you missed it, you have to check out http:/ 
/ . This is the site that 
G W Bush, the Texas governor currently run- 
ning for the republican presidential nomi- 
nation, wanted shut down, saying, "there 
ought to be limits to freedom". This site 
spoofs Bush, especially his current trouble 
with past drug use and other policies. A 
funny and thoughtful site that is worth- 

Another anti-right wing site is the Anti 
Pat Robertson / Christian Coalition site. 
While it doesn't appear that this site has 
been updated very recently, there is still a 
lot of interesting reading here. Find out how 
crazy Pat really ease, what ruthless dicta- 
tors he's been buddying up to, and how he 
got rich off of the sheeple who watched the 
700 Club. Visit the site at http:// 
patrobertson.html . 

Once again, if you've been keeping up 
with the news, you ve probably read about 
all the hacking that has happened to gov- 
ernment (and other) web-sites recently. You 
read about them, but it is rare that you get a 
chance to see the hacked sites, as by the time 
you find out about them, they've been fixed. 
Fortunately, there is a website that keeps 
copies of tne hacked sites for you to check 
out. Visit it at 
Attrition actually has more than just hacked 
sites, including user pages, humor, music, 
and movie pages and more, but they also 
have over 2000 hacked sites available for 
view. Fun! 

I found a somewhat interesting online 
entertainment site. Thoughnot exactly punk 
rock, it is a collection of articles from several 
of the free "alternative" newspapers you'll 
find across the US. We aren't talking 'zines 
here, but rather the free weekly papers you'll 
find at your local coffee shop. Anyway, this 
site is called NewCity and has quite a few 
articles that you may find entertaining or 
enlightening. You'll find it at http:// . 

Does anybody out there beside me 
remember the good old days before the 
internet, when computer BBSs were the 
norm. Back then, BBSs provided an excel- 
lent resource for discussing the latest news 
and gossip, meeting people "online", and 
networking. The only problem with them 
was that you had to dial into each one indi- 
vidually. The internet made the BBS more or 
less obsolete. However, there is a new move- 
ment to bring the BBS back, but this time to 
the World Wide Web. Message bases, real- 
time chat, and more from the good old days 
are available, and there are even elite boards 
out there. 

One cool BBS-style web site that I re- 
cently came across is The Obloid Sphere. Set 
up with a layout very similar to an old BBS, 
this gives you everything you used to ex- 
pect, with the exception of File areas. Check 
it out at http: //www. obloid . 
You'll need to sign up for an account in 
order to visit, and getting in is up to the 
discretion of the sysop. 

In other geek sites, Proxys 4 All is a site 
that keeps a large list of proxies that are 
accessible to the public. Proxies are useful 
when you want to visit sites anonymously 
or when your provider is slow. If you're 
interested, the best thing to do is to visit the 
Proxys4All site at http: / / 
and read all about wnat tney are and how to 
use them. 

A couple of more un-punk sites, and 
we'll move on to punk rock! Rock 'n Records 
bills itself as "the meeting point for Record 
Collectors". Not oriented specifically to- 
wards punk, but if you are looking for some 
rare punk rock, this may be just as good of a 
place to start as any. You 11 find Rock 'n 
Records at 

Another record collector site is Con- 
niption. Based in Australia, conniption has 
a big list of records, CDs, posters, and more 
available, as well as a list of stuff they are 
looking for. Conniption is at http:// . 

A relatively new site that looks like 
they've got their shit together, and definite- 
ly has a cool idea, is Search and Destroy, a 
"search engine for punk-fuckin'-rock'n'roll 
related sites". Not a ton of items indexed 
yet, but if you have a web-site that deals 
with punk rock, you should visit http:// and get your stuff in- 
dexed. Try it out. 

Next up is Mad Butcher records. This 
German label has a site with info on all of 
their bands, as well as chat, a bunch of free 
MP3 files and anti-fascist flyers. Some of it is 
in German, but even if you don't know the 
language, it is worth a visit to http:// . 

For those of you with the equipment 
and net connection to listen to MP3 files, I 
found a pretty good eclectic / punk "ra- 
dio" show called Atomiackers. In fact, I'm 
listening to it as I write tnis column. Featur- 
ing music from punk and indie acts, in the 
last half hour I've heard Locust, Deadbolt, 
The Misfits, Guitar Wolf, No Knife, Johnny 
Cash, and more. You'll need winamp 
( or macamp 
( to listen. Visit 
the web page at 
atomjackers/ for more information. 

Juvenile Delinquents Lifestyle Pho- 
tographs is an Italian online photozine. The 
site features nothing but photos. Live band 
shots, skateboarding photographs, some 
artsy photos. Not a ton of stuff here, but 
there are some interesting images. Give it a 
visit at 
Bistro/6079/ . 

One other Italian site to finish off this 
month. The Turturos are an Italian band 
whose web page is well thought out and 
easy to navigate. There are two copies of 
the pages, one in Italian and the other in 
English. The pages include MP3 files, lyr- 
ics, photos of the band, and a link page, as 
wellas a guestbook and "quiz of the month". 
Visit their site at 

Okay, so that's it for this time around. 
Visit the netpunk columns at http:// or send 
me e-mail with your comments and web- 
sites for review to netpunk@die . And, of course, you can 
write me, or send me your CD-plus to 
check out at PO Box 8059; Santa Cruz CA 

I've spent a few months talking about 
politics and such so now lets get back to 
what sells fanzines, music. 

Before I talk about Grindcore I'd like 
to clear the air with some terms. To someone 
who doesn't listen to fast aggressive hard- 
core, especially the metal influenced stuff, 
there can be a confusing array of 
nomenclature.Here are some terms and ex- 
amples to keep everyone straight. 

Crossover-Cryptic Slaughter, early Fi- 
nal Conflict, DRI second LP on, Corrosion of 
Conformity second LP on, Later Dr. Know. 

Grindcore-Napalm Death, Terroriz- 
er, Assuck, Agothocles, early Carcass. 

Death Metal-Death, Entombed, Mor- 
bid Angel, mid period Sepultura, Master, 
Pestilence, Malevolent Creation 

Black Metal-Bathory, Celtic Frost,, 
Venom and their imitators 

Speed Metal-Possessed, Death Angel, 

Thrash Metal-mid period Slayer, ear- 
ly Metallica, Exodus 

(Note it could be argued that Speed 
Metal and Thrash metal are really the same 

Metal-Judas Priest, mid period Metal- 

Crust-Hellbastard, Deviated Instinct 

Crusty Hardcore-Extreme Noise Ter- 
ror, Doom, Disrupt, Destroy 

Thrash-Early DRI, Mob 47, 

Power Violence-Crossed Out, Despise 

This month we'll talk about the golden 
age of Grindcore. Where did grindcore be- 
gin? I would place the roots ofGrindcore in 
the fast hardcore of the early 80's (especially 
Siege, DRI and classic Japanese hardcore 
bands like Gism, Gauze and Lip Cream) and 
the hardcore influenced speed-metal, death 
metal and crossover of the same period. 

To me the first and certainly one of the 
best Grindcore albums is Repulsion's Hor- 
rified . This didn't come out on vinyl until 
the early 90's. However, the influence of this 
band's demo was clearly present in the sev- 
eral of the classic Grindcore recordings. Re- 
?ulsion were incredibly fast metal-core for 
985 from some hick town in the South too 
I believe. Who knows where they drew their 
influences or what ever happened to them. 
Totally brutal death and gore oriented met- 
al-core which really pioneered the genre. 

To truly understand Grindcore you 
don't really need the Repulsion LP although 
it would be nice. You will need the follow- 

ing albums, Terrorizer-World Downfall, Na- 
palm Death-Scum, From Enslavement to 
Obliteration, Mentally Murdered and As- 

Napalm Death was one of the greatest, 
most brutal and intense bands ever. They 
started in the early 80's as sort of a peace 
punk band in the Crass /Conflict tradition 
but soon became more aggressive and met- 
al / gore influenced . The pool of talent which 
produced the first three Napalm Death 
records was to really forge the path for 
grinding fast music for years to come. I 
remember buying the Napalm Death Scum 
lp when it was new in '87. Fuck, that album 
just blew me away, totally insane speed and 
fury. Remember at this time DRI's Dirty 
Rotten LP was the world's fastest most in- 
tense record. Scum took that fury to the next 
level. While certainly metal influenced Na- 
palm Death was really coming from the 
Hardcore scene and hence I would rate them 
as the all time kings of Grindcore. Scum was 
an instant cult favorite among punk and 
metal kids during the late 80's. With 28 
songs it was six up on DRI and so insanely 
brutal. Siege of Power and Instinct of Sur- 
vival are monuments of grinding mayhem. 
Napalm Death really brought the gruff vo- 
cal style into common use as well as the 
crazy shout vocals. If you listen closely to 
early Napalm Death material you can pick 
up on the influences from early 80's US 
Hardcore bands and classic Japanese Hard- 
core as well, not to mention contemporary 
English Hardcore like Concrete Sox, Heresy 
and Ripchord. Still Napalm Death took it 
into a totally new realm of brutality. Their 
second album, From Enslavement to Oblit- 
eration is brutal but more of a wall of noise 
assault. I feel that, while brutal and aggres- 
sive, it lacked the hooks and drive of Scum. 
It wasn't time to throw in the towel yet 
though because in 1989 they released the 
Mentally Murdered 12". While this is more 
polished and produced and has more of a 
Death Metal feel than say Scum, it is a total 
holocaust head eruption of GRIND POW- 
ER. For a four song 12" this record packs 
more of a whallop than most band's entire 
careers. Now Napalm Death continued for a 
long time after these recordings, in fact they 
may still be around the metal scene yet. But 
the early recordings are the most essential, 
and brutal. After Mentally Murdered the 
line-up changed several times and the mem- 
bers each started to pursue solo projects of 
varying merit, thus diluting the core of the 
grind. Before we take leave of Naplam Death 
though, there is one more essential piece of 
Napalm Vinyl. The 1987 Peel Sessions re- 
cordings are absolute genius. These have 
appeared a few different times on vinyl and 
CD, worth tracking down is the "Double 
Peel Sessions" vinyl or CD. This is a really 
raw and ferocious document of one of the 
most of brutal bands ever. The "live in the 
studio" feel of the Peel Sessions recordings 
gives you a real feeling of brutal intensity, 
you can tell they were really amped in the 

studio and playing balls out, more like a live 
gig than a typical studio session. An impor- 
tant thing to remember is that although 
Napalm Death was a pioneering Grind band, 
they had roots in the Hardcore scene and 
their lyrics were political and very critical of 
the system and the establishment. As the 
cult of Grind grew lots of bands entered the 
scene from the Death Metal direction bring- 
ing with them more of a gore/evil lyrical 
approach. As the music started to sound 
more and more alike it tended to be the 
lyrics which made a difference in conveying 
the level of conviction and emotion behind 
the music. The intensity of the music attract- 
ed many of the same commercial interests 
that had recently cashed in on Cross Over 
and the DIY/Punk nature of the scene was 
soon haunted the spectre of commercialism 
and mainstream metal attitudes. 

Definitely coming from the Death Met- 
al angle but with pretty political lyrics was 
Terrorizer. Really a project band with mem- 
bers of Morbid Angel, Nausea (L.A.) and 
future Napalm Death guitarist Jesse Pinta- 
do. Terrorizer was above and beyond just 
about every band of the era when in came to 
musicianship and production. World Down- 
fall stands as the perfect example of a Grind- 
core record. Gruff vocals, fast guitar, whirl- 
wind drumming (blast beats) a total manic 
assault. However perfect this album may be 
I find its edges a Tittle too smooth and pol- 
ished. It lacks the raw and visceral intensity 
of Napalm Death's early work. Still this 
album is a masterpiece and belongs in your 

After Napalm Death and Terrorizer 
the must own classic Grindcore album of all 
time is definitely Assuck's Anticapital . As- 
suck had already released the Necro-Salva- 
tion 7" and the split 7" with OLD when Anti- 
Capital came out but the LP really blew the 
earlier work away. In fact it blows away 
every other Grindcore record ever made 
except those by Napalm and Terrorizer with 
whom it stands as a monument to brutal 
Grind. Assuck managed to combine the 
anger, fury and social commentary of a punk 
band with the musicianship and produc- 
tion quality of a Death Metal Dand the result 
was a total assault of manic Grind power. 
This album rages from hyper speed to ex- 
cruciating tense slow mosh parts back to 
whirlwind blasts. Most impressive is that at 
this time (90-91) Assuck was a three piece 
with NO BASS PLAYER just guitar and 
drums. This is and insanely heavy record to 
have no bass on it. Insanely heavy. It still 
blows my mind today. I still love Assuck 
today but this album was a triumph that 
cannot be equaled kind of like Reign in 
Blood for thrash metal. 

You could stop there, but if your thirst 
for classic grind continues you need the 

Carcass- Reek of Putrefaction . Bill Steer 
of Naplam Death's side project (at first) 
really blazing fast grind and totally sick 
lyrics. By far the sickest cover of its day. This 

band really brought the gore /decay influ- 
ence to fore in Grind. Carcass- Peel Sessions, 
more of the early brutality captured raw 
and energetic but in a top notch studio. 
Carcass- Symphonies of Sickness -Not quite 
as great as the first LP but really heavy and 
evil. Carcass went really downhill after Sym- 
phonies, last time I saw them they sounded 
like Pink Floyd. 

Agothocles-This Belgian band holds 
the title for all time masters of output. 
Around since 1987 Agothocles has put out 
so many split 7"s you need to add an annex 
to your record room to hold them. Styling 
themselves as "Mince-Core" Agothocles has 
always been more of an underground and 
DIY Grind band as opposed to the more 
commercial stuff on Earache etc. 

Bolt Thrower- In Battle there is no law . 
I guess this is really a Death Metal album but 
it is so dangerously close to grind it deserves 
mention in the same breath as early Napalm 
and Terrorizer. I'd have to classify all Bolt 
Thrower's other material as Death Metal 
but this LP (and the Peel Sessions) has 
enough raw fury to register as a Grindcore 
offering to my ears. 

Master-Again really a Death Metal 
record but with some really brutal grind 
elements and certainly a cult influence sim- 
ilar to Repulsion on later Grind bands. 

Righteous Pigs, Defecation, Unseen 
Terror- All projects or percussors of Napalm 
Death members. Defecation is the only one 
which really stands on its own as a Grind- 
core Classic, and then only in the second 
string, still a brutal and intense record. 

Sore Throat- Unhindered by Talent - 1 
think Sore Throat is more of a crusty hard- 
core band than a Grind band, but they must 
be mentioned for their importance at the 
time. Musically Sore Throat didn't really 
stand the test of time, really to me they are 
more of a novelty after ten years. However, 
they offered a great deal of biting commen- 
tary on the commercialization ofgrind mu- 
sic as was happening. This is especially 
summed up in the second LP Disgrace to the 
Corpse of Sid . Since Grindcore was spawned 
from the Hardcore Punk scenebut was large- 
ly taken over by the commercial Death Met- 
al scene it lost much of its social commen- 
tary and most of its DIY attitude very quick- 
ly (except for bands like Agothocles who sat 
out the commercial hype and stayed under- 
ground). Sore Throat was really funny, but 
also lampooned the state of the scene in a 
thought provoking manner. Still I think their 
music is closer to Crusty Hardcore than true 

Probably the last of the truly great 
Grindcore Classics was Brutal Truth's Ex- 
treme Conditions Demand Extreme Re- 
sponses . This is really furious balls to the 
wall grind. I think it has a really strong early 
Napalm Death influence but the level of 
musicianship was really up there enough to 
push it over the top to stand on its own as a 
classic. Brutal Truth's later stuff gets a lot 
more experimental and I feel it Tacks the 

knockout punch of their first LP. We played 
with Brutal Truth not long ago and they still 
rip it up live. 

By 1990-91 the market was totally 
flooded with Grind and Death Metal bands 
most of which came from the Metal angle 
and really dragged the style into a morass of 
repetition. By 1991 all the classics were es- 
tablished and newcomers could only imi- 
tate. The result was by the number formula 
gore bands some of whom got really popu- 
lar but most of whom I can't even remem- 
ber. As with any artistic or musical move- 
ment the most profligate years are the earli- 
est when the floodgates first open. Is it not 
thepioneer and the visionary who is pushed 
to the fore in the heroic era of any medium. 
Yet these are soon drowned out and forgot- 
ten as the multitudes stampede to casi 
and jump on the bandwagon. 


Renae Bryant's 
5 mil. 

Well, I've reached off-track time and 
let me say that things are still stressful. I wait 
three months to get a one month vacation 
and somehow I'm more stressed than I was 
when I was teaching. Ever since I had my 
heart broken I've decided to put all my 
energy into achieving my goals, every sin- 
gle one of them! (You see, I've discovered 
the element of distraction and chaos in my 
life. No, it's not the approaching millenni- 
um, debt, band, label, teaching, etc. It has 
been men. I can honestly trace all the chaos 
I have suffered to romantic liaisons with 
men, from my guest appearance on Judge 
Judy to my being stranded at someone's 
mommies' house in Placerville for twelve 
hours. So, I am no longer in search of the 
perfect dick. I am now celibate, which brings 
me back to my original point.) So, now I am 
accomplishing a lot for the band, zine, label 
and personal goals. 

I'm beginning to realize that doing a 
label makes me a business woman, whether 
I like it or not. I never wanted to be a "busi- 
ness woman." I've booked shows dealt with 
promoters, etc. but none of that ever quali- 
fied me as a "business woman." I have read 
at least five times a comment that asserts, 
"When a man is being aggressive, he is 
considered a 'go-getter.' Wnen a woman is 
being aggressive she is considered to be a 
bitch." Being a teacher and a dominatrix, 
I'm in a hen house at all times. The prior 
statement never really applied. But today, 
my friends, I finally found out what all the 
fuss is about. You see, I went to US Media 
disc to have my cd's manufactured on 8/3/ 
99. On that day I was told that there would 

be a ten day turn around. Well, today is 9/ 
7/99 and I still do not have my product. We 
leave on tour in three days and I do not have 
the product yet. So, needless to say I'm 
freaking out. For two weeks I have called 
Vincent. For two weeks I am promised that 
the discs will be done. Now three days 
before we leave I'm told, "There's no guar- 
antee the discs will be done." What the fuck 
is this? This is bad business, right? So, I 
express as much. A weak apology is all I got. 
I'm like, "Hey, buddy, we re not Aerosmith 
here, we need product for the road!" He 
didn't give a fuck and actually laughed and 
said, "This is really unfortunate." 
So, I called back, he won't take my calls. I 
asked for a "boss." Then I'm told I can only 
deal with my "rep." I'm pissed now so I call 
my friend who owns three Harley dealer- 
ships. I explain the situation to him. He calls 
Vincent explains who he is and all of the 
sudden Vincent's got some answers, he's 
going to have the discs done by Friday. 
What the fuck was that? I guess because I 
don't have a good amount of greens lining 
my wallet and a dick between my legs, I get 
the fucking run-around. So annoying! Now 
I am going to go to the bookstore and buy 
some "Art of War of Business for Women" 
book or something. I consider myself and 
extremely aggressive, get-what-I-want type 
of girl, but now I know that's not enough. 

Now some of you might say, "Oh, 
Renae, don't get your panties in such a wad, 
this happens to everybody in the music 
industry." I admit there are a lot of flakes in 
the industry but I can't help but think that 
the lack of women owning and running 
labels rnight make a difference. Just a 
thought. That is just another reason for wom- 
en to build stronger alliances within the 
scene to help each other out. Support girl- 
friendly businesses / girlcott those that don't 
know how to treat female business owners. 
Okay, enough of that whining. No, I don't 
want any cheese. No, my pussy doesn't 

So, after that little bitch session, I 
thought I would dedicate my November 
column to things that we all can be thankful 
for. This is very Mary Poppins-esque, but 
sometimes (as you can tell from the begin- 
ning of this column) it is easy to get caught 
up in the negative. So, I thought of some 
simple things we can all be thankful for: air, 
sun, earth, water, toilet paper, toilets, men 
that like to be beat, deodorant, answering 
machines, condoms (birth control), tooth- 
paste, bras, vibrators, fruit and vegetables, 
phones, the sexual revolution, MRR, tam- 
pons, tennis shoes, pizza, pillows, choco- 
late, animals (no they're not delicious), tat- 
too guns and ink (I like the pain and the 
pretty designs), Joseph Campbell, porno- 
mags (to masturbate to when your practic- 
ing celibacy or does that make you non- 
celibate does celibacy mean non-orgasm 

or non-intercourse is self-loving al- 
lowed?), electricity, batteries, good friends, 
good memories, the camera, good music, 

quasi-freedom, Nikki Giovanni, Ms. Maga- 
zine, showers, a roof over your head, calen- 
dars, vitamins, you fill in the 

blank . 

Maybe next month, when I have re- 
turned from our tour, I will return to the 5 
minute format. In the mean time thanks for 
your patience. You can always send your 
comments and criticisms to: PO Box 251 
Norco CA 91760-0251 or webmistress 
© (the correct email address 

The world seems to be going toxvard chaos, armed 
gangs, breakdown of central governments, a 
breakdown of 'law and order.' Burroughs sent 
me an article from Harper's that painted a pic- 
ture of emerging chaos in the big countries while 
little countries were dissolving into armed gangs 

"Spontaneous Intelligence," interview 
with Allen Ginsberg 

Tricycle, The Buddhist Review, Fall 1995 
If the industrial revolution gave us longer life 
expectancies and unprecedented materiafwealth 
while at the same time creating a global grave- 
yard, are we so naive as to believe that the digital 
revolution won 't deliver a similar yin and yang? 
"Technofascism" by Michael S. Malone 
Upside, August 1998 

I've talked about the evils of work and 
capitalism in the present tense. I've also 
painted a rather Utopian picture of the abo- 
lition of work under socialism. Unlike Marx, 
I'm not at all certain that the latter necessar- 
ily follows the former. When Rosa Luxem- 
burg looked into the future after the col- 
lapse of the Second International and social 
democracy, she saw matters as a choice 
between "socialism or barbarism." Those 
remain our options today. 

There is much talk these days that 
capitalism is in the process of truly globaliz- 
ing for the first time, what with the collapse 
of "socialism" in eastern Europe and the 
Soviet Union and the marketization of the 
remaining "real existing socialist" regimes. 
Check the current non-fiction arrivals at 
your appropriate megabookstore for the flur- 
ry of books for and against this "globaliza- 
tion of capitalism." I have little to add to the 
debate other than to note that capitalist glo- 
balization is occurring simultaneously with 
the "chaos, armed gangs, breakdown of cen- 
tral governments and disintegration of 
nation-states sketched by Ginsberg and the 
"digital revolution" mentioned by Malone. 

Coincidence? Hardly. This is the new 


This, of course, is also the stuff of 
cyberpunk. The triad— social breakdown, 
global capitalism, digital revolution — was 
central to the futures created by William 
Gibson in his Neuromancer series and Bruce 
Sterling in Islands in the Net. So what can we 
make of a potential world with a few privi- 
leged, extremely wealthy, digitally wired 
enclaves surrounded by a planet seething 
with social chaos, battling microstates, mil- 
itarized gangs and permanent war other 
than quick cyberpunk pulp fiction or the 
excuse for yet another cheap Marxist screed? 
Capitalism needed the nation-state and 
national economy for its development dur- 
ing a certain period of history. Now it 
doesn't. What is emerging is not so much 
technofascism as it is technofeudalism how- 
ever. Thomas Pynchon remarks somewhere 
in Gravity's Rainbow that Europe immedi- 
ately after the second World War was much 
like early feudal Europe after the fall of 
Rome to barbarian invaders. Both were pe- 
riods of interregnum, with little determined 
and much up-in-the-air. Things were in flux 
and thus volatile. Numerous social forces 
were at play, making possible many poten- 
tial futures. Can the technofeudalism of glo- 
balizing capitalism actually have an up- 

The Middle Ages were a bloody hell of 
serfdom, war and inquisition, yet a couple 
of folks have discovered a few redeeming 
features in those dark ages. In Mutual Aid, 
Petr Kropotkin extols the communal insti- 
tutions and relative freedoms of the Medi- 
eval free cities, while downplaying the role 
these cities played in developing a commer- 
cial proto-capitalism within European feu- 
dalism. Murray Bookchin points out the 
numerous Medieval peasant uprisings and 
religious Utopias bent on realizing a com- 
munistic paradise of leisure and abundance 
in The Ecology of Freedom, among other works. 
Thus a few libertarian glimmers penetrated 
the gloom of the Middle Ages. 

As I said two columns ago, I don't 
believe we're likely to see a genuine work- 
ing class revolution in our lifetimes. That's 
the "I" behind "Lefty" Hooligan speaking. 
A technofeudal global capitalism is much 
more likely than world communist revolu- 
tion a la hooligan. Can global capitalism's 
technofeudalism give rise to some liberato- 
ry countercurrents despite all its horrors? 

Or perhaps I'm just being the eternal 
optimist. "Lefty" sees a workers revolution 
right around the corner and while I, the 
writer behind the pseudonym, can discount 
Hooligan's utopianism, I still attempt to 
find the silver lining behind the inevitable 
capitalist storm clouds so obviously mass- 
ing on the horizon. What this isn't is some 
addendum to my just completed, five-part 
series on work and capitalism. If anything, 
it's part of my fascination with what might 
be called "interstitial entities." I'm interest- 
ed in rogue organizations, powers, societ- 
ies, and countries existing at the interstices 

^3Ef i' t > \* ■ 

'"'■ ' •- *'■■'""■ t 

of some wider established social, economic 
and political structure, and this is a common 
theme in my fiction. In writing five long, 
meandering, post-Marxist essays on work 
and capitalism, I have realized how much of 
"Lefty Hooligan's ultraleftism is not truly 

Of course, I've always known that the 
moniker in this column's header was only a 
nom de plume, with more than a touch of nom 
de guerre to its function. Its helped me to 
purify a certain consistent combative strain 
in my political thinking, with all the advan- 
tages and problems associated with taking a 
line of thought to its logical conclusions. It 
can even take on a life ofits own; a character 
with predictable responses and points-of- 
view. My actions, interests and ideas are 
generally much broader, more eclectic and 
better grounded than "Lefty" Hooligan's 
frequently faultless yet ephemeral cotton 
candy theorizing however. 

In The Common Good, Noam Chomsky 

When you eliminate the one institutional 
structure in whichpeople can participate to some 
extent — namely me government — you're sim- 
ply handing over power to unaccountable pri- 
vate tyrannies that are much worse. So you have 
to make use of the state, all the time recognizing 
that you ultimately want to eliminate it. 

Some of the rural ivorkers in Brazil have 
an interesting slogan. They say their immediate 
task is "expanding the floor of the cage." They 
understand that mey're trapped inside a cage, 
but realize that protecting it when it's under 
attack from even ivorse predators on the outside, 
and extending the limits of what the cage ivill 
allow, are both essential preliminaries to dis- 
mantling it. If they attack the cage directly when 
they're so vulnerable, they'll get murdered. 

I agree with the spirit of this quote, 
whereas "Lefty" would denounce it as re- 
formist and diversionary. 

I'm not "Lefty" Hooligan, and another 
thing that confirms this is the final prepara- 
tions I'm making to send off my second 
novel to my editor for a professional, paid 
critique. Hooligan wouldn't approve of some 
of the book's themes, least of all the fact that 
I substitute race war for class war. Mykel 
Board called it a left-wing Turner Diaries 
from my description. 

It's a large amount of my time and 
energy, not to mention a couple of years of 
my life finally going on to a higher, more 
critical stage of creative development. I'm 
jazzed, but I'll miss working on the book at 
the same time. After I send the manuscript 
to the editor, I have a month, month and a 
half to find ajob. The unemployment's about 
to run out, the savings will be running low, 
so it's time to face up to the dismal reality of 
returning to wageslavery . "Lefty" has made 
it clear time and again that unemployment 
insurance was a New Deal reform intended 
to save American capitalism from social 
revolution. Personally, I loved every minute 
of being unemployed. 

Instead of an unrealistic "Lefty" Hoo- 

ligan preaching pie-in-the-sky social revo- 
lution, I'm trying to find more practical 
ways to counter global capitalism's impend- 
ing technofeudalism. With the triumph of 
socialism by no means guaranteed, ana with 
capitalism far from being on its last legs, 
Hooligan's extremism can be tiring, if not an 
invitation to isolation or burnout. The idea 
is to hunker down while retaining one's 
radicalism; to prepare for the long haul while 
preserving one's socialist ideals. 

Actually, I lived through another lull 
in US Leftist activism. Between 1972 and 
1975 the Vietnam War wound down and 
Richard Nixon resigned rather than be im- 
peached. Mass Leftist organizations col- 
lapsed as membership plummeted and ac- 
tivism evaporated. The mid-70's were abso- 
lutely dismal politically, relieved only by 
the birth of punk. Punk turned to hardcore 
anarchism in the early '80's which, with the 
anti-nuclear and anti-apartheid movements, 
contributed to a mild revival of political 
activism. The collapse of Soviet "socialism" 
between 1989 and 1991 took the wind out of 
this modest Leftist reanimation, and the 
disintegration of any progressive alterna- 
tive reached an all-time low in America by 
the mid-90's as a consequence. 

Were 1 30 years older I'd know another 
peak and lull in the Left, through the labor 
and social organizing of the '30's and '40's 
and the virulent anti-Communism of the 
'50's. Before that was the IWW era from 1905 
through 1919 and the Palmer Red Scare, 
though this is not an endorsement of any 
cyclical theory of Leftist activism. My pre- 
diction of liberatory possibilities in the com- 
ing age of global capitalist technofeudalism 
is not based on some magical political peri- 
odicity. Put simply, chaos breeds opportu- 

Not to say I'm looking forward to the 
brutalities of the New World Order. I wish 
I could stop the march of capitalist barbar- 
ism with a hooligan revolution. Since I can't 
overthrow capitalism any more than I can 
stop being left of the Left, I gotta do this 
awkward balancing act. Writing a strident- 
ly ultraleft column while practicing a more 
open, ecumenical politics. "Lefty ' Hooli- 

fan still serves a purpose and makes a point, 
ut more and more the pseudonym is wear- 
ing thin. More and more I have to interrupt 
this column to tell you my opinion as well as 
Hooligan's. The name still expresses an un- 
compromising mood and the column still 
has enough attitude, so I'll keep it around 
for a while longer. When it finally becomes 
threadbare, I'll toss it. 

Fabricating another pen name 
wouldn't be difficult. I got my punk name 
under "zine shitworkers" from the 'zine I 
once published, San Diego's Daily Impulse, 
which I did under the pseudonym Sammy 
Blue. The Library o' Congress considers the 
use of my real initials with my real last name 
on my fiction books to be a pseudonym, for 
copyright purposes. I have a book review 
from a classical anarchist perspective in Hit 

List #4 under the name Nick Homicides. 
And I've often quipped that I hope the FBI 
has a few extra files on political subversives 
thanks to taking seriously two or three of 
my myriad past pseudonyms. 

Any new writing name would not au- 
tomatically recapitulate Hooligan's point- 
of-view though. I could pen a column from 
a number of perspectives — liberal, demo- 
cratic socialist, anarchist, even libertarian — 
and still remain true to some inclination in 
my politics. What's more, I could present a 
conservative, fascist, social democratic, even 
leninist viewpoint so effectively the decep- 
tion would easily pass as genuine. 

A word of warning to those who think 
they've got me pegged. 

As for the coming darkages, there's an 
argument to be made that the present con- 
fluence of globalizing capitalism, collaps- 
ing social and political structures, and a 
ubiquitous digital transformation of tech- 
nologies has made all previous Leftist theo- 
ry and practice obsolete. I tend to agree with 
this analysis. The fall of Soviet "socialism," 
as well as the decimation of most other 
Leftist tendencies, actually did the Left a 
favor in sweeping away the most egregious 
distortions and detours masquerading as 
radical forms of social change. 

Some folks have correctly responded 
to this historic juncture by calling on the Left 
to critically reexamine past ideas and ac- 
tions, discard most as clearly bankrupt, and 
glean what little of value remains as part of 
the creation of a socialist movement capable 
of fighting global capitalism's imminent 
technofeudalism. Class War disbanded its 
federation a couple of years back with this 
kind of reappraisal and regroupment firmly 
in mind. Unfortunately, much of the Lett 
remains committed to failed strategies and 
ideologies. Social democratic parties have 
been voted into power across Europe over 
the past few years, and Leninism has not 
lost its appeal for guerrilla movements in 
the Third World. Like the abused child who 
grows up to become an abusive parent, like 
the welfare child who winds up raising a 
family on the dole, the Left seems locked 
into a vicious cycle of deformation and de- 

"Lefty" Hooligan's merciless critique 
of the rest of the Left would seem to be in 
line with the present need to winnow the 
wheat from the chaff. Next column anar- 
chism is targeted for a scathing analysis in 
response to a letter from Anthony Walent. 
Needless to say, anarchism proves no less 
outmoded than those twin dinosaurs Le- 
ninism and social democracy. Yet Hooligan 
pushes a line that is rarely less rigid or 
problematic or out-of-date. The anti-statist 
council communism preached in these pag- 
es remains a necessary element in any de- 
bate to create a revolutionary negation of 
globalizing capitalism's technofeudalism, 
but in and of itself it's not sufficient to halt 
let alone reverse the march of this new bar- 

Not to worry, I'll step down from this 
lofty overview and return to my usual Hoo- 
ligan crankiness in time to rip anarchism a 
new asshole next issue. 

CRASSHOLE ALERT...Crass was theband 
most responsible for carving out an anar- 
cho-punk tendency in punk rock's bound- 
less nihilism. AK Press (see address below) 
has recently published a trilogy of Crass 
related material for those obsessed with the 
subject, beginning with Crass Art and Other 
Pre-Postmodernist Monsters ($24.95), truly an 
alternative coffee table book. The drummer 
and lyricist for Crass, JJ Ratter/ Penny Rim- 
baud provides an autobiography in Shibbo- 
leth, and some purple prose in The Diamond 
Signature/The Death of Imagination ($10.95 

contacted at My book, 
End Time, can be purchased from AK Press 
(POB 40682, SF, CA 94140-0682) for $10. 
Keep sending me your newsworthy items 
and interesting news clippings c/o MRR. 


A great CD released on Bronze Fist 
this month, the brilliant six-band compila- 
tion called - "Lightning Thunder Bolt - Six 
Skinheads Band's Compilation". This fuck- 
er kicks ever loving ass! Starting the melee is 
YOUTH OF SKIN HEADS doing the rough 
and tough "Short Length". This is a great 
song with sing-along-parts for the whole 
band. Keep an eye peeled for YOUTH OF 
SKINHEADS! They are going to be heard 
from again! 

Next up is the gruff singing of SKIN- 
HEADS OF RIGHT doing the course and 
ragged "Life Alive". Great! The brutal pow- 
er of SKINHEADS OF RIGHTcomes smash- 
ing out at you! The ferocious vocals of this 
band will hammer you into submission! 
SKINHEADS OF RIGHT take no prisoners 
- this is extreme skinhead force! 

The third band on this excellent com- 
pilation is UNITED '97 who sing a melodic 
punk/skin song "In the City". This song is 
sung in English. Some of the lyrics are : "I 
had always escaped when I met difficult 
problems. /It was easy for me to give up, to 
give in. /This is limitations of my life. /Don't 
give up. /No limitations. /Get up and live./ 
Rush and Dash./I was born in this city./ 
Now I'm living in the city. /Now I can say 
what I should say. /I can play what I want 

to. / I'm sometimes hated but I don't mind. / 
I love me!/ I hate you!/ No escape./Go 
your own way, get up and live./ Rush and 
Dash." UNITED '97 are melodic punk with 
some influences from the likes of SHAM 69 
and other English music. 

Next up you have STRONG CROWD 
with a fast oi! number called "Right Way". 
This has the good deep singing reminiscent 
of BAD VULTURES. This is very strong oi! 
with good lead guitar and superior singing. 
When STRONG CROWD sing "Right Way" 
you know full well that you have had the 
hard Japanese oi! boot applied to your head! 

After STRONG CROWD you receive 
THE CHAMPION with concentration on 
the punker aspects of oi! more akin to BLITZ 
or MENACE. Give a listen to "First of All". 
The good guitar playing is there with fine 
vocals - there are lots of hooks! 

The sixth band on the "Lightning 
Thunder Bolt Skinhead Compilation" is 
called FINAL YOUTH with the rowdy street 
punk song called "Fight Anything" The dra- 
matic vocals hold your attention through- 
out the barrage of guitars and drums. Good 
shit! You must get "Six Skinheads Band's 

Yes! Japan's fucking amazing skin- 
head band CRIKEY CREW shares a split EP 
this month with NO-SIDE on Bronze-Fist 
Records. This kick-ass EP starts off with 
CRIKEY CREW doing "New Glory". Fuck 
yes! This hard oi song comes crunching out 
of your speakers with brutal metallic guitar 
attack and deep vocals complete with har- 
monies. This band holds more power in this 
one song than a dozen generic oi!-punk 
bands. The CRIKEY CREW lower the boom 
on your hapless little head! Fucking tough! 

Side Two of this "The Reason To 
Rock" tour EP is three songs by NO SIDE 
recorded live in August of 1998. The sound 
quality is somewhat muddy but you can get 
the idea of the power in the band's perfor- 

A scorching bit of punk-rock comes 
smolderingout of Nara, Japan in the form of 
THE BLAST. This shit has a raw punk 'n' oi! 

Power that will stand up your spikey hair! 
ucking super-bad guitars with excellent 
harmonies! A Japanese version of young 
and Here" THE BLAST sing: "Knocked 
down, there you screamed /Knocked down, 
let's climb up get true tough!/Now and 
here- be proud of what you are. /Now and 
here- be proud of your dreams./ Now and 
here- be proud of surviving/ Now and here- 
be proud of fighting spirit./ Never forget 
fighting spirit! ' Great record! 

Knockout Records has a good split LP 
for yourpunks and skins! It's the BRASSK- 
PUNKROIBER start off the oi festivities. 
You may remember the fine DIE PUNK- 
ROIBER 7" called "Dirty Dancing". This LP 
continues that theme. The music is fast and 
spirited with good sing -along harmonies, 
refined lead singing, and first-rate guitars 

and drums. The band plays all- around com- 
petent oi! /street punk with a bit of a pub- 
rock feel to it. 

Some of DIE PUNKROIBER lyrics in 
"Poor and Proud" are: "Do you see the 
skins/Running down the street /Violence 
in their minds, Doots on their feet./Running 
down the streets with punks unite/Never 
again friends will fight/The political time 
has gone. /No politician says what's right or 
wrong./We smash discos all over town./ 
We are friends and we never walk alone./ 
My boots, my friends, I believe in./I'm 
poor, I'm proud, I'm a skin." 

Turn this beauty over and pick up the 
pace a notch with BRASSKNUCKLES start- 
ing off with "Punkermob and Glatzen- 
mente". This side plows through fast punk/ 
oi! songs like "Spirit", "Scum", "Kneipen- 
tour" and "Franken". Good shit! 

Knockout has a new LP by the Italian 
anti-racist Oi! veterans KLASSE KRIMINA- 
LE. This excellent LP follows on the heels of 
the top-quality Vulture Rock release of 
KLASSE KRIMIN ALE's older material. The 
new LP is entitled "I Ragazzi Sono Innocen- 
ti" and it's quite good! It's refreshing to 
have an esteemed Oi! band like KLASSE 
KRIMINALE still releasing first rate prod- 
uct! This band has an impeccable resume 
and is well respected by skins and punks 
throughout the world. Besides all the great 
songs, "I Ragazzi Sono Innocenti" features a 
handsome back cover cartoon by the fa- 
mous skinhead artist ALTEAU, which he 
calls "Crophead Comics". It contains a good 
message: "For everything, for every fault, 
it's our fault/ Accusations, accusations, they 
point their fingers and accuse. /They don t 
like what they have created. /They judge 
what they don't understand. / Bloody hands, 
violence around us. / Kids against kids with- 
out asking why. /They have told us to do it/ 
The day after they accuse us. /All the kids 
are innocent! /Right and Left are the same 
thing./They know how to use you. /You 
say kids are your future, but you give no 
chance./You judge us but you don't speak 
with us,/You don't want to tell us the truth. / 
You don't care about us /You only care about 

A very good record with very good 
politics. As KLASSE KRIMINALE are wont 
to say: "Love Music, Hate Racism". Have a 
look at the photograph inside on the lyric 
sheet with KLASSE KRIMINALE playing 
the Second Belgian Oi! Festival- "Pride With- 
out Prejudice" in 1993. This band has their 
heads screwed on right and always has! 

The third LP available on Knockout 
Records this month is by the English punk/ 
skin veterans RED LONDON. This newest 
effort is called "Once Upon a Generation" 
and it has Kid Stoker, Gaz Stoker, and Patty 
Smith performing a handful of melodic, 
well-crafted songs that reveal RED LON- 
DON in a reflective mood. The acoustic 
parts might wear thin for some skinheads 
but on songs like "Once Upon A Genera- 

Hon", "The Truth Never Dies" and "Now 
It's Over", the band indicates that it has 
mellowed like a good whiskey with age and 
the result is a beautifully honed "elder states- 
men" skinhead sound. 

CHARGE 69 from France has a killer 
Knockout EP available called "Region Sac- 
rifice". You probably know some of the 
CHARGE 69 material from the Combat Rock 
releases last year. Very good punk rock! 
This EP starts out with a bang with the song 
"Casse Toi!". Great! Then CHARGE 69 play 
"Region Sacrifice". Yes! On the "B" side you 
get Heritage" and their anthem "Charge 
69". Very strong! If you haven't been ex- 
posed to CHARGE 69 yet then get off your 
ass and buy the fucking record! 

Knockout Records has licensed the 
SHOCKTROOPS "Fun and Fury" LP from 
Combat Rock Records in France. This fuck- 
er has 15 really good sing-along street punk 
songs that will nave you skating across the 
pub floor spilling beer all over the fuckin' 
place. There's good male/female harmo- 
nies with the respective singers each taking 
their turn. Listen to "Not Me", "No Friend 
of Mine", "Outraged" and "There's No Re- 
treat". There's an excellent cover of COCK 
SPARRER's "We'reComing Back". Getthis 

Knockout has a dandy little split 10" 
record available for you bastards. This bit of 
the punk is performed by Belgium's veteran 
OF HOPE. The old-school shit just pours 
out of the seasoned punk rockers FUNER- 
AL DRESS with good songs like "Confu- 
sion" and "Lady Di's After Party". FUNER- 
AL DRESS have a great UK SUBS sound. 
77 sound with an accomplished female vo- 

Also available right now on Knockout is an 
EP by the Swedish band BOMBSHELL 
ROCKS called "The Will The Message". This 
band has a good sound like early SWING- 
IN' UTTERS or Florida's BELTONES. The 
title cut "The Will The Message" is taken 
from the full length album by BOMBSHELL 
ROCKS "Street Art Gallery" on Sidekicks 
Records. The band has a lighthearted spirit 
to their punk and sing their melodic songs 
with feeling. Look for BOMBSHELL ROCKS 
on tour with the DROPKICK MURPHYS 
this fall. 

Germany's punk band DISTRICT has 
released a CD of songs culled from the 1995 
to 1997 era. The CD is called "My Dad Is 
A Punk". This is good natured punk-rock 
with driving beats and a solid up-tempo 
feel to it. The music has melodic underpin- 
ning without venturing too close to boring 
pop. Contact Dirty Faces Label, Universtat 
Str 16-11789, Bochum, Germany. 

You can get all the 1980 throughl982 
songs from the very good German punk 
band DAILY TERROR all on one 10" from 
Dirty Faces Records. This slab o' wax in- 
cludes "Popperverklopper" and 
"Bundesweher from 1980, "No Fun Is No 

Fun" and PSUEDO PUNX from 1982 and 
more. This band was a pretty rockin' Ger- 
man punk outfit. You should check out this 
historical perspective. Included is a nice 
pamphlet in German detailing the band's 

Oink Records has the triple threat com- 
ing down on you fucks! There are three new 
Oink releases . 

Number one in the line up is the SUB- 
WAY THUGS with their great picture-disk. 
This beautiful slab starts out with "Bas- 
tards", which goes like this: "You never tell 
the truth. /You're making up lies. /You don't 
want to understand us. /You just want your 
story done." 

Next the SUBWAY THUGS slam into 
"Our Night" which celebrates the band's 
kinship and healthy drinking habits. Flip 
this colorful record over and you have 
"Cheers To You" remembering friends, and 
good times shared together. The grand fina- 
le is the song "Betrayed" with its poignant 
lyrics: "He is just a young boy at the age of 
17/He's been in and out of home and in 
care /He's turned sour at society /No one 
wants to understand/He's got a cold stare 
not very kind /Not many options he turned 
to crime / Broken ribs, cracked up smile real- 
ity/Built up aggression, stay away/He's 
only 17/He's been fucked around by the 
bloody best/He'sbeen turned around.' Very 
strong shit! 

If you didn't catch SUBWAY THUGS 
at the oi! fest in Arizona be sure to see them 
when they come to your town. For SUB- 
WAY THUGS product write to : #606-233 
Abbott St., Vancouver BC V6B2K7 Canada. 

The second oink records product you 
must investigate is the full length CD by 
Canada's POSERS. This is the first rate punk 
with oi! influences. The guitars are fast with 
streetpunk foundations. The vocals are in 
your face with lots of punk attitude. The 
POSERS have been getting punker with ev- 
ery release. The punk anthems here have 
theproper testicles attached! This raw punk- 
rock is not for the mild little college punks! 

Item number three from oink is the full 
length from the PILLAGE PEOPLE. This is 
punk-rock with the emphasis on PUNK. 
The PILLAGE PEOPLE have done their 
homework and listened to the proper hard- 
core punk records. When we talk about 
"hardcore" here, we are referring to BLACK 
YOUTH type of hardcore punk- not that 
crappy straightedge bilge that some idiots 
try to pass off as hardcore these days. Write 
to Oink Records at PO Box 27813, Washing- 
ton, DC 20038-7813. Make sure you order 
"Worse Than Nothing" 7", and THE MOLO- 
well as the new product. 

Hot off the presses is the blistering 
FLATLINER's "Brickwall Streetpunk-Cha- 
os Youth" EP. This shit comes screaming 
into your brain courtesy of A.D.D. Records. 

The FLATLINERS hail from gorgeous San 
Antonio ,Texas and these punks play for 
keeps! It's loud, it's fast and it rocks like a 
motherfucker! If you like the UNSEEN and 
A GLOBAL THREAT then check out the 
FLATLINERS - you won't be disappointed! 

A.D.D. Records put out a newsixsong 
CD by CLIT 45 called "Straight Outta Long 
Beach". This is leather, bristles and studs 
punk in the old school style-like THE CA- 
SUALTIES . The songs are fast and hard 
with lyrics about oppression by the author- 
ities. In "We'll Have Our Say". CLIT 45 sings: 
"You push us apart, you won't let us unite/ 
You can try to shut us down and push us 
away /But it doesn't matter 'cause we'll have 
our say /They can try to keep us silent - they 
don't want to let us play/But it doesn't 
matter, 'cause we'll have our say/ The end 
has come to your tyranny." Punk as fuck! 
Write to A.D.D. Records at 270 Central St., 
Hingham, MA 02043. 

The BLOODCLOTS from Everett (Se- 
attle), Washington have a full length LP out 
on Helen of Oi. This is more of that nasty fast 
screaming, charged spiked hair and pyra- 
mid studded jacket that you GBH types like. 
Every song has the venom that you need for 
the anger to keep percolating. In the title cut 
"Clot You to Rot", THE BLOODCLOTS sing: 
"Have you seen the kids?/Their dreams are 
obsolete/Nowhere left to go/Nothing left 
to eat/ Did you see their eyes as they left 
you?/Kicking and bleeding/There's no 
rules for the youth/In a future controlled by 
you/They sing the revolution song/ And 
you just pray for your own extinction." This 
rough-hewn punk material carries on the 
punk tradition that THE BLOODCLOTS 
started with their appearance on the "Punks, 
Skins and Herberts Volume #3" compila- 
tion LP on Helen of Oi Records. 

Included on the "Clot You to Rot" LP 
is a cover of THE JESTERS OF CHAOS song 
"Violent States of America" and "Death and 
Destruction" originally done by the SKEP- 
TIX. Fans of DEFIANCE and POXY who are 
not familiar with THE BLOODCUTS should 
get with the program. Locate this record! 

The Australian hardcore band RUP- 
TURE has a compilation CD available for 
you fucks. It's called "Righteous Apes" and 
contains all kind of meanspirited and pissed 
off songs like "Baser Apes": "Surrounded 
by enviro-eggheads / You suckhole around / 
paralyzed living the life of the zombiefied 
egghead." In Righteous Fuck" from 1991, 
RUPTURE sing: "Moronic preaching on 
things/ You don;t know about/ Dressing up, 
an insecure costume party of cryptic louts/ 
Socialization has a grip on you and you 
don't realize/We can see through the punk 
disguise." This is all hard as nails, balls to 
the wall, rough Dunk. In the song: "Maxi- 
mum Rock 'N' Roll is the CIA" RUPTURE 
offer: "You better watch out subversives/ 
Who are on MRR's mail list/ Your home will 
be invaded right now/Picnics at the White- 
house/Let's go see J. Edgar Hoover/Mean- 
while back at PC HQ/They're planning a 

Sound Idea Distribution 

PO Box 3204 
Brandon, FL 33509-3204 

Phone (813) 653-2550 

Fax (813) 653-2658 


Minimum order is $10 or it will be returned. 

In the US. add S3 for first class postage, if you want it. 
Can and Mex surface mail : add SI per item 
Can and Mei airmail : $3 for first item, $1 each additional 
World surface mail : $2 for first item, $1 each additional 
World airmail : $4 for first item, $1 each additional 
get a credit slip. Big orders get FREE STUFF! 
CATALOGS: Send $1 US, $2 world. 

Chaos UK "Total Chaos: The Singles" LP $8.50 

Deep Wound "American Style: 1982 Demos" 7" $5 

Voorhees "13" LP $8.50 

Armagedom/Forca Macabra LP $8.50 

Agalhocles/Vomit Fall 10" $8.50 

Agathodes/Bad Acid Trip 7" $3.50 

V/A "Deadly Encounters" 7" $3.50 

Combat Wounded Veteran "I Know A Girl" LP $7.50 

Clustcrhomb Unit "And The Dirty Little Weapons" 7" $3 

Negative Trend with Razz "Pop Sessions" CD $8.50 

Agoraphobic Nosebleed "Honkey Reduction" CD $8.50 

Capitalist Alienation "LP and Demos" CD $13.50 

Acursed/Victims 7" $5 

Scorned 7" $3.50 

Vomitus/Flux Of Disorder 7" $3.50 

V/A "Not So Quiet on The Western Front" 2iLP $10 

V/A "Flex Your Head" LP $8.50 

Minor Threat " Discography" CD $12 

World "Space" 7" $5 

V/A "Killed By Florida" LP $7.50 

Warcollapse "Divine Intoxication" LP $8.50 

Defiance "No Future No Hope" LP $8.50 

Disorder "Pain, Headache, Depression" 7" $5 

Stalin "Trash" LP $12 

Anti-State "Estado De Paz" 7" $3 

Hcllnalion "Fucked Up Mess" LP $7.50 

Olophobia 7" $3 

Talk Is Poison "Control" 7" $3.50 

97 A "Society's Running On Empty" LP $8.50 

Disgusting Lies " Pewnegodnia" LP $8.50 

Discharge "Fight Back + Decontrol" 7" $5 

Void "Condensed Flesh" 7" $3.50 

Cheetah Chrome Motherfuckers "400 Fascists" 7" $5 

Antichrist 7" $5 

Starved and Delerious "Unproud" 7" $3 

V/A "Nagasaki Nightrider" LP $12 

Asshole Parade/Palatka LP $8.50 

End Of The Century Party LP $6 

V/A "Really Fast Vol 10" 2xLP $10 

V/A "Network of Friends Vol 2" 2xLP $12 

Amen "Somewhere In Europe" 7" $5 

Varukers "One Struggle One Fight" CD $13.50 

Rupture "Cunt Of God" CDSI0 

Scrotum Grinder/Combat Wounded Veteran 7" $3 

Disclose/Homomilitia 7" $5 

Crass "Christ The Boodeg" CD $5 

V/A "Carry on Oi!" LP $8.50 

V/A "Oi ,Oi! That's Your Lot" LP $8.50 

Aus Rotten "We Now Return You To ..." LP $8 

Aus Rotten "We Now Return You To..." CD $1 1 

Aus Rotten "Not One Single Fucking Hit" CD $1 1 

Aus Rotten "Fuck Nazi Sympathy" 7" $3 

Aus Rotten "Anti-Imperialist" 7" $3 

Anti-Flag "A New Kind Of Army" LP $8.50 

Lack Of Interest "Trapped Inside" LP $7.50 

Fugazi "Instrument" VHS video $20 

Banned In DC book $20 

A-Political "Propaganda By Deed" 7" $3.50 


And be sure to visit the 

Sound Idea Store 

1 13-11 East Brandon Blvd in beautiful Brandon 

Celebrating SIX YEARS of rockin' your ass off! 
Thanks to all who have supported! 

Turbonegro "Never is Forever LP/CD 

Turbonegro are dead but don't paniciHere's the 
re-release of the superb long-gone second album. 
Remastered and with new Derrick cover art! A must! 

V.A. "Holland Sux" LP/CD 

25 song compilation with exclusive tracks from NRA, 
Seein'Red, Funeral Oration, Human Alert 
DeadStoolPigeon etc. 

NRA "Surf City Amsterdam" LP/CD 

re-release of their legendary sold out album from 1993 with new artwork and 
available for the first time on vinyl. Produced by Vic Bondi 
Still hot: Is This For Real?", "Fuel", "Access Only" 

"Der FC St. Paul, ist schuld dass ich so bin"DoLP/CD 

exclusive recordings from bands like Turbonegro, Leatherface, Bates Terrorgruppe 
...But Alive!, Bela B. (Die Arzte!), Frank Z. (Abwarts) and many more only dealing 
about the infamous footie club! 75 minutes length, DoLP has three bonus songs' 

Cock Sparrer "Two Monkeys" LP/CD 

their latest studio album - great as usual! Available in Northamerica through Rotz 
Recordings! Check out: "Run Away", "Guilty As Charged"LP/CDA/C 
Coming: Turbonegro "Hot Cars and Spent Idols" LP/CD (1st album) 

Available as well: THE MARSHES "Fledgling", "Same" - FLAG OF DEMOCRACY 
.«! Q^" 19 ? U S£ S "' " Hate Rock "' "Schneller", "Down With People" - TONY ADOLESCENT & 
ADZ Piper At The Gates Of Downey" LP/CD, "Where Were You?" -TOXIC REASONS "No 
Peace. CD ROM, "In The House Of God", "Independence" - ALLOY "Eliminate" 
Paper Thin Front" - APT. 3G "New Hope...", "Punk Machine" w/ Dean & Chris from Poison Idea 

Send 2 IRC s for a detailed catalogue with cheap offers! |H>4f# 
DISTRIBUTORS, WHOLESALERS, SHOPS-get in touch! ■*i r *T-fc - e-mail: D-^thP^r 01 

040 31 3009 

Melted Records Presents.. 

My So-Called Punk Rock Life 

In stores Sept. '99 or available 

through Melted Mailorder 
for only $8.00 

A 30 song pop -punk 

compilation featuring: 

Chixdiggit, Nobodys , 

Huntingtons, Buck, 

JCCC, 22 Jacks, 

Limp, Teen Idols, 

Smugglers, Gotohells, 

Travoltas, Beautys, 

Boris theSprinkler, 

Pink Lincolns, 


<& a special 

appearence by 

Drunken Cholos 

(original Queers 

lineup Joe Queer, 

Wimpy and Tulu)!!!!!! 

Checks, cash or money orders (include $3 outside US), 
Melted Records 21-41 34th Ave Astoria NY 11106 

/// //(-M (■/*■ cJUVU7Vrt/f (/7(-Mi 


A collection of rare and unreleased tracks 

from 1994-1999. Nearly one hour of music from 

one of Chicago's best punk bands! (SH 014) 


OBLIVION sweatpants u.s.a. CO 59ppd 

Imagine Elvis Costello or the Buzzcocks 

playing their LP's at 45 rpm with the 
rock sensibility of Deep Purple!(5H 016) 

.MI'S UP! Wi* one of 
ttteu babies, rot ur (wllf 
g«t iroumf Juirif) ott curasl 
Lsse ieuln This anaiing 
"ikate boird" lets >ou roll 

i off any ft it surface onto the 

j ispbalt below 

F.Y.P/CHANIWA split lOin/CD $7/$7ppd 

F.Y.P deliver 5 new songs; Japan's answer 

to F.Y.P. Chaniwa, belt out 5 tunes. Tokyo 

vs. Torrance; who will win?. (SH 013) 

Also Available: 

The Fairlanes bite your tongue CO S7ppd 
Teen Idols/Spread split lOin S7ppd 
Homeless Wonders s/t 5 song COep S4ppd 
Decay destiny LP/CD S7/$9ppd 
Oiscount/Cigaretteman split 7in S3ppd 

Write or e-mail for a free catalog/stickers! 



PO Box 40757, Denver, CO 80204 


Plow United - 

The Dustbin of History 

A Collection of the 

$10.00 CD Only 

Includes the tracks "Dance", "Timmy is an Arsonist" , and 
many other tracks from other singles and compilations. 
Even includes demos before never heard. A must have for 
the Pop-Punk fan. 


Write us for a catalog and what not. 

157 Coolidge Terrace, Wyckoff, NJ 07481. - 

more stuff coming soon that you'll love 

Now Available 


Haggis - SL9 CD 


or download songs for free from 

Send cash or money order to Mark Hanford, not 
Screwball Productions. Overseas, add S2. 

screwball productions 

po box 8059 

santa cruz ca 95061 



Awesone political hard- 
core punk in the vein of 
Featuring ex-members of 
Glycine Max, Pig Children. 
SoCal PUNK!! 



The 4th full length by 

these LA veterans. Idler 

operatic hardcore punk 

for the thinking punk. 


S!«\ -ft" Vt-* 



Old school politics and punk 
from Long Beach. Classic 
SoCal South Bay sound. 
Tour w/Stratford M. this fall 

46 Short/Arson Family 
5 song split 7" 
Great hardcore punk 
from the East Coast and 
West Coast. "Excellent, 
non-stop political Impa- 
tience.." MRR 



fAmj f 


}<*;' -t: 




Le Shok (members of locust & Treadwell) take on the mighty 
Electric Frankenstein. First J00 on pink. 


"When We Were Good" 

3 song 7" 

Includes a GG cover 


mt m 

Dead Man's Choir 

"What's Wrong With Me" 
4 song 7" 

Dead Boys meets Humpers 
punk rock-n-rolll ■ 


27bands/33 songs/sampler CO compilation 

w/Unreleased stuff by a bunch of bands like Le 

Shok. All Day. Electric Frankenstein. Insult, Llfes Halt. 

Ciril, etc. alot of great stuff by JFA, UK Subs. 

Oayglo Abortions, Raw Power, The Fixtures, etc.... 

$5ppd N.Amerlca/$7ppd World 



1 7 band/song CD jj 

with Anal Cunt, Final Conflict, 5 * 

Electric Frankenstein, Arson Family, > ,. 
Vitamin L, Blanks 77, Insult, Gob, £ ° 
Das Klown, Drain Bramaged, Angry 
Little Man, The Missing 23rd, Visual J J 
Discrimination, Eyelid. The Dread, >" 
No Fraud « Polltikill Incorect. o 


LP = $7ppd N. America/$ 1 Oppd Worla 

CD= SlOppd N. Ameiica/$12ppd World 

7"= $3.50ppd N America/$5ppd World 

Bite Ihe Bullet = $5ppd N.A/$7ppd World sand o stamp for a catalog of V> % 

Any4 7"s for SlOppd N.A/$15ppd World otar raWoses w Km. Sen 

KK?N P.O. BOX 90579 ^ , 
$m$ LONG BEACH, CA 90809 

m<x&L hltp://www.knowrecord$.com 
**■'**** e-mail: knowrcc@earthlink.ncl 

coming 5000: 

make money order, check 
or "well hidden-cash to 

fax: 562-438-3969 



check out our new s 

something for 
the sickness 
7"ep $3.00 


number one with a bullet" cd 


7" EP $3.00 

THE BLAME 7" EP $3.00 

SEND CASH OR MONEY ORDERSfmade out to cash) 







Flying jjomb 

r ec ord s 

P.O. Box 971038, Ypsilanti, Ml 48197 

Write for a free catalog. 

Distributed by Revolver, 
Get Hip, b Subterranean. 

Hukka Pukka 


'Deathreat-reason to live..?" 

Phobia -enslaved. .7" 

ifcorrupted-Anciano. . . 7" 

Qodstomper/No Comply 7' 

324 s/t 7" 


iBellnat ion-Fucked Up Mess... CD 

Noothgrush-Erode The Person. CD. V .00 ; 

Black Army Jacket-222. . .CD 

Enewetak-Onward To Valhalla. . .CD 

Voorhees-13. . .CD. .511.00 

v/a Reality pt.3..CD comp. with 

m VI t ra , Phobia , "more 


Bands. send in demos or realeases for the 

internet radio shotu. looking for extremecore 

Grind. sXe.Noise. etc... LET'S HERR IT!!!! 

Ordering Info 

Send well concealed cash or money order to: ■ 

P.O.Box 10735. Bakersfield.CR 93389-0735 
List Alternates.. $7.00 minimum... Rdd $2.00 ! 
for priority shipping otherwise U.S. P05T PRID 

The website has moved 

Net Radio! 


!!! "The Dis-ease" 7" (repressed!) 3. 00 

ARAB ON RADAR "Queen Hygiene" LP/CD 8.00/10.00 

ARAB OS RADAR "Swimming with Hard On" 7" 4.00 

ASSFORT "1990-93" Picture LP/OD 10.00/12.00 

BLACK CAT MUSIC "...New Romance" 12" JSP 6. 50 

BLACK CAT 13 7" EP 3.50 

BORN AGAINST / U.O.A. Split 7" 3. 50 

THE BOYS "Peel Sessions" LP (UK) 10.00 

THE BOYS "Live in Concert" LP (UK) 10.00 

THE BOYS "BBC" (above 2 on 1 disc) 12.00 

THE BOYS "Alternative Chartbusters" LP 8.5O 

BRAINDANCE/OXYMORON Split 7" (Germany) 5. 00 


BUG CENTRAL "Meek Will Inherit..." LP 9. 00 

CATTLE DECAPITATION (members of Locust) LP 7. 00 

CAVITY "Wounded" 7" 4.00 

CHAOS UK "Total Chaos" LP (Italy) 8.50 


CHARLES BRONSON 1st 7" EP (repressed!) 3.50 

CHARLES BRONSON "Youth Attack!" 10" (Eur) 9. 00 


CIVIL DISOBEDIENCE "Invention" LP 8. 50 

CLUSTER BOMB UNIT "...Little Weapon" 7" 3. 00 



CRIMSON CURSE "Both Feet In Grave" LP 7. 00 

CRIMSON CURSE / F.O.D.D. Scjuare 7" 4.50 

CRUDOS "91-95" LP (Spanish heavy vinyl) 9. 00 


DIRT "Black and White" 2 X CD (UK) 14.00 

DOOM "The Greatest Invention" LP (UK) 10.00 

DOOM "Doomed from. . .(Demos)" LP (UK) 10.00 

DRUNKHORSE Self-titled LP 6. 50 

DYSTOPIA "Aftermath" (splits, etc.) 9. 00 

DYSTOPIA "Human... Garbage" CD 9. 00 

DYSTOPIA "Backstabber" 7" (repressed!) 3.50 

ENEMY SOIL / PAGE 99 Split 7" EP 3.5O 

FALL SILENT "Super Structure" LP 7. 00 


FORCE Self-titled CD 11.00 

FOUNDATION "Fear of Life" 7" EP 3. 00 


GODSTOMPER "Heavy Metal Vomit Party" LP 7.„, 

GUYANA PUNCH LINE "Maximum" LP/CD 7. 00/10. 00 

HATEWAVE Self-titled LP 7.50 
HERS NEVER EXISTED "Static" LP/CD 7. 00/8. 00 

HIATUS "The Brain/El Sueno..." CD 10.00 
HIS HERO IS GONE "Plot Sickens..." LP 9. 00 

INSANITY "Mind Crisis" CD (Brazil) 11.00 

KILL SADIE "Half-Cocked Concepts" 10" 6.5O 

KILL THE MM WHO QJUISTIONS "Sugar Industry" CD 10.00 

KUNG FU RICK "Motivation to Abuse" LP 7.50 
LOST WORLD "Tot Aber Haltbar" LP (Se™«ay) g.50 
MELT BANANA "Cactuses Come" LP/CD 7.5O/H.OO 
NERVO CHAOS "Payback Time" CD (Brazil) 11.00 
NO COMMENT "Discography" CD (everything!) 10.00 

ORCHID "Chaos is Me" LP 7.50 

OUTHUD "Natural Selection" 7" 3. 00 
PHOBIA "Destroying the Masses" 10"/CD 7.00/9.00 
RAHAKKA "Napalmia" 7" EP (Finland) 4.00 



KBVEESAL OF MAS "This is Medicine" LP/CD 7.50/7.50 


SPAZZ "Crush, Kill, Destroy" LP/CD 7.5O/H.OO 


TWELVE TRIBES "As Feathers..." CD 11.00 


UNHINGED "Crime & Punishment" LP (Belg) 9. 00 

UNRUH "Setting Fire to..." LP/CD 7.5O/H.OO 

UNSEEN "So This is Freedom?" LP/CD 7.50/H.OO 

VAE VICTIS Self-titled LP 7. 00 
YAPHET KOTTO "The Killer Was In..." LP 7.50 
V/A "Aftermath" 2XLP(Profane Ex. Benefit) 12.00 

All prices are POSTAGE PAID within the u.a. 
via 4th class mail. for priority mail add 
$2.00 to your order total, overseas airmail: 
3.00 for first item, 2.00 each additional item. 
surface: 2.00 first item, 1.00 each additional. 

see for yourself - website updated weekly! 

make checks and money orders to "bottlenekk", send 
cash at your own risk! list alternates or else 


P.O. Bos 11794 Berkeley, CA 94712-2794 


Independent Until Death! 

NYC'S IN CROWD play to a packed 
and very sweaty crowd at Vital's office. 



VITAL MUSIC suffered a setback in August 

when a group of kids came to Vital's office to 

buy some stuff. After they left we discovered 

they stole a significant amount of CDs. We 

trusted them to be honest and they took 

advantage of us and ripped us off. We do 

have photos from our building's security 

cameras of all of them and we already know 

some of their names and addresses. I have 

called them and they admit to stealing stuff 

but in two weeks have returned nothing. If we 

do not get all our stuff back I will release the 

photos and all the names, addresses and 

phone numbers we know so all can see the 

culprits that violated our trust. 

Check in at our new website address 
at VITALMUSIC.NET and see if they 
delivered the goods or not. Until 
then, no more open houses or shows! 

Below is a small sampling of band and zine titles 
starting with N, O, P and Q from our catalog of 
5000+ records, CDs, patches, buttons, T-shirts, zines 
and more. Visit our website or write, e-mail or call for 
our paper catalog. Next up: R, S &...(hmmmm).T. 









phobia Huns EBEESIpink 





divisionIJiV TMJJjI peechees 
phantom surfers 







Visit our website at 

Fast dependable service since 1989 

Bands and labels qet in touch with us to carry your stuff. 

PO BOX 210 NEW YORK, NY 10276-0210 

Brand Mew From | Out Mow on Melted Records 
Melted Records | 

M rty5o-Called j 
Punk Rock Life" 

a compilation CD | 

*™ u *ism 

lTM«r MMA*tOHO£ 

Darlington MLT011 The Heartdrops MLT012 
"Mess You Up" "East Side Drive" 

Mobodys, Chixdiggit, 

JCCC, Limp, 



Pink Lincolns, Beautys, 

Travoltas, Smugglers, 

Boris the Sprinkler, 


Lickity Split, Squirtgun, 

Drunken Cholos (Joe 

Queer, Tulu, Wimpy), 

Rumbler5(mernber5 of 


A total of 30 bands 

on one CD!!!! 

in stores September •<?■? or 
>7.00 PPD thru Melted ("lailorder. 

- *ir9) 21-41 34 Ave Suite 10A Astoria NY 11106 mailorder CD's $10 + $3 outside US 

rfizcZrvs For tour dates and info visit 

ws*rtf fetes lit §9 Iwd 

TYH MLT009 The Cretins MLT008 

I "Win a Date With.." "We're Gonna Get So 


Badtown Boys 
Another Fine Day 
Fourth album - stilt going strong 
NRA80CD $12 

Problems First 
New Jersey hardcore 
NRA76CD $12 

UK Subs 

First time on CD 
now with extra track 
NRA05CD $12 

UK Subs 

Endangered Species 
The Subs finest hour 
first domestic release 
NRA81CD $12 

At War With Society 

This 33 track amazing punk 

comp. has sold 77,000! 

Now $1.99 in stores 

Still 99 cents through 
NRA mail order! 

(Shipping $1.50 in the USA 

for orders under $6) 

Send 2 stamps for catalog 

Shipping outside usa see our site 

Don't forget we have: 

Anti-Flag, Reagan Youth, UK Subs, 

Swingin' Utters, Samiam, M.D.C. 

Loudmouths, No Use For A Name, 

Snap-Her, Christ On A Crutch 

New Red Archives PO Box 210501 
San Francisco CA 94121 

coup to fuck you /Maximum Rock n' Roll is 
the CIA." Also included are covers of "With 
Medication" by the HEADCLEANERS 
(from 1983), "Do You Mind" by MENTAL 
ABUSE (1984), and "Negative Approach" 

This is extremely brutish hardcore 
punk with a vitriolic message about most 
everything. The whole package works well 
and this CD enables you to get a good over- 
view of much of the material from 1991 on. 
There are sixty tracks in all! Available from 
Yeah Mate Records, PO Box 17, Victoria 
Park, WA Australia 6979 

On the live music front: "The TKO 
Records Invades SO. Cal." fest went well. 
all played hard to enthusiastic crowds at 
three all ages shows in Victorville, Corona, 
and San Diego. Thanks to Jim and Dave at 
First Round Promotions. Thanks to the 
bands. Thanks to the kids! 

Til next month... 

See ya 'round.... 

See you in hell! 

Just in case you missed it, our last 
exciting episode introduced us to the micro- 
scopic villains behind that all-too-familiar 
itching-sera tching-burning condition 
known as The Yeastlnf ection, and elaborat- 
ed on ways to avoid inspiring them to at- 
tack. To recap, the three cardinal rules to 
prevent yourself from being made into a 
one-woman Wonder Bread factory are: 1) 
take good care of your acidophilus bacteria 
allies, 2) keep the acid levels in your body 
and cooch high, and 3) don't feed the fungi. 
This month's scintillating subject is again 
those ferocious fungi, but this time we'll be 
concentrating on how to fight back when, 
despite our test efforts, they manage to 
overrun our sensitive pink stuff. 

Fighting back against the Yeast Beast- 
ies is only useful, of course, if you're indeed 
sure that they're the culprits. A number of 
miniature evil-doers imitate the inimitable 
sensations one endures when the Beasties 
go on the offensive. Among the usual sus- 
pects are E. Coli refugees from your diges- 
tive system, which occasionally find them- 
selves relocated when we ladies get lazy 
and wipe from back to front, or when our 
lovers get over-exuberant and stuff some 
toy or body part which has previously been 
in our tail into our vag without washing 

first. This can cause a condition which goes 
by the very precise medical name of "non- 
specific vaginitis;" you can try treating a 
mild case with the garlic tactic described 
below. If it really is the Beasties, the goo 
from your cooch will be thick and lumpy 
(not slimy) and it will smell like bread or 
beer (not fish or anything rotten). If this isn't 
the case, and nothing's been hanging out in 
both your behind and your box, you should 
see a doctor or homeopath to be sure you 
don't have something really sinister like an 

Barring such unfortunate circumstanc- 
es, your first action should be to follow the 
yeast avoidance techniques laid out in our 
last episode. Figure out what could be trig- 
gering the attack, such as pigging out on too 
much vegan banana bread or getting your- 
self stuffed all full of semen or collaborating 
with the enemy by using over-the-counter 
yeast treatments, and then cease and desist 
from such things. 

Cut down your sugars (including un- 
refined sugars and fruit) as much as human- 
ly possible, reduce your carbo intake and 
eat lots of high-protein foods like meat (if 
you do that sort of thing), tofu and nuts to 
shut down those glucose supply lines in 
your blood that your enemy requires. Use 
condoms without spermicide if condomless 
or condom-with-nonoxynol-9 nookie is 
what's getting you down. And as impossi- 
ble as it may seem, resist the urge to go for 
the quick fix with a pharmaceutical yeast 
treatment; if you're making an emergency 
trip to the 24-hour grocery store, you might 
as well pick up something that won't invite 
the Beasties to keep coming back like a 
horror movie sequel. 

Hold your head up high, steer clear of 
the cookies and the personal hygiene aisle, 
and get yourself back to the dairy case. 
There you'll find one of the most common, 
inexpensive and effective supporters in your 
campaign to win back your body: plain 
yogurt. Obviously organic is best (we are, 
after all, trying to stay away from nasty 
chemicals here), and vegans will be pleased 
to know that soy yogurt will also do battle 
for your cooch, but the only real require- 
ment for any of these is that it contains "live 
cultures," which means reinforcements for 
your acidophilus allies in every plastic car- 

Once you get home, you can use a 
vaginal-cream inserter like those that come 
with spermicide gels and chemical yeast 
treatments, one of those bulb syringes used 
for clearing snot from Junior's wee nose, or 
even a small spoon to put the yogurt where 
it's gotta go; if those things aren t handy, a 
yogurt-and-warm-water douche will also 
do the trick. Since the yogurt will work its 
way out sooner or later, it's a good idea to 
put a menstrual pad in your shorts if you'll 
be up and around. Although this may sound 
messy, the payoff is usually instant relief 
from the itchy-burning-itchy cycle, as the 
soothingly cool, acidic, Dacteria-rich yogurt 
goes to bat immediately against your at- 


A similar and slightly less goo-inten- 
sive strategy in the war against the Beasties 
is acidophilus capsules, which can usually 
be found, refrigerated, at your fa vorite twigs- 
and-bark health food stores or co-ops. De- 
spite pinching the wallet a bit more, and 
without the bonus of instant itch elimina- 
tion, the capsules fight the good fight the 
same way as yogurt: dormant and encased 
in gelatin, when two or three are stuffed into 
your warm, wet stuff with a clean finger, 
they become active and go to war against 
the evil white invader. In addition, they 
have the advantages of portability and con- 
venience; a bottle of little pods keeps longer 
than a bucket of yogurt in your fridge, as 
well as being a great deal easier to conceal in 
one's backpack. And while you're at the 
granola store, don't forget that acidifying 
your system (remember, yeast hate acid!) 
can help give your bacterial buddies the 
upper hand. Drinking well-diluted unsweet- 
ened cranberry juice concentrate or taking 
cranberry tablets will make you happily 
sour, and help convince your uninvited 
guests to pack their bags and find another 
tropical pink paradise to invade. 

If simply putting your bacteria back 
where they belong doesn't kick enough yeast 
ass, if you re traveling and can't find a health 
food store, or if you think you have a butt- 
sex-to-vag-sex induced bacterial infection, 
the grocery store can still be your salvation. 
Get yourself over to theproduce section and 
purchase a big, healthy bulb of garlic (again, 
organic is best). Peel one clove very careful- 
ly, without nicking the membrane (if you 
mess this part up you will be very, very 
sorry). Wrap it in a strip of cheesecloth or 
thin, sterile gauze, dip it in olive or vegeta- 
ble oil, and insert it into yourself, leaving a 
tail of fabric hanging out so you can retrieve 
the clove when necessary. 

This may sting but should not be ex- 
cruciating; if it is, stick to yogurt until your 
innards are less irritated. Don't be alarmed 
if your breath and sweat start to smell like 
Italian food: the vagina is extremely porous 
and the garlic may absorb into your Dlood- 
stream just as it does when you eat it. Re- 
place the whole contraption regularly, and 
because garlic is an antiseptic and may in- 
jure your favorite microscopic teammates, 
alternate it with yogurt or acidophilus cap- 
sules at night. 

A week or so of the above activities 
should be more than enough to repel the 
invaders and reinstate acidophilus as rulers 
of your vaginal kingdom. But if it isn't, and 
you're absolutely certain your symptoms 
are the result of tenacious yeast squadrons 
and not something truly terrifying and dan- 
gerous like an STD, it's time to break out the 
big guns. Boric acid, a common, Clark Kent- 
esque chemical that pharmacists use in eye 
washes and antiseptic creams, has an alter 
ego: special agent for acidifying our cooches 
until the Beasties wave the white flag and 
surrender. Even though boric acid isn't a 
prescription drug, the best way to get it is to 

find a pharmacist who does drug compound- 
ing; he or she will have the right equipment 
to prepare capsules for you, and you'll only 
have to pay for as many as you need. If you 
can't find a compounding pharmacy, raw 
boric acid powder is available over the 
counter at most drugstores. Make sure you 
get the powder; the boric acid solution you 
may find will be too weak, and the tablets 
will be too small. You'll have to buy "oo" 
(600 mg) sized gelatin capsules (try a health 
food store if the drugstore doesn't carry 
them) and prepare them yourself by pack- 
ing the smaller end of the capsule with the 
powder, and sliding the larger end over it 
like a cap. Insert one into your cooch every 
night until the Beasties have run screaming 
for the hillsides. 

Provided you're following the previ- 
ous instructions about sugar, sex, and stress, 
and especially about avoiding chemical yeast 
treatments, the tiny white villains lurking in 
your swampy metropolis should behave 
themselves. If they don't, and you find your- 
self subjected to repeated waves of attacks, 
try to isolate what could be leaving you 
vulnerable to yeast raiding parties and ex- 
periment until you find out which of the 
above methods work for you as defensive 

For example, if the Beasties move in 
every time you get some nookie, keep acido- 
philus capsules handy and pop one in when 
you get up to pee afterward, or drink lots of 
diluted, unsweetened cranberry juice when- 
ever you think you might get lucky (this will 
also help ward off that other bane of female 
existence, the UTI), and so on and so forth. 
If your pink countryside is under constant 
yeast siege despite trying all of the above 
techniques, it's time to see a doctor or ho- 
meopath for tests; serious conditions like 
diabetes and HI V-inf ection can cause chronic 
yeast infections, and other disorders can 
mimic the symptoms the Beasties cause. 

Until our next exciting episode, I'll be 
rooting for you ladies from the yeast-free 

sidelines. Good luck! 


disclaimer: the past two columns intended 
only to inform women about techniques 
that have helped some women control yeast 
overgrowths; they were not meant to diag- 
nose or prescribe for any illness, obviously, 
any health-related choices are the responsi- 
bility of the reader, not the author. 

these last exciting episodes were informed 
by workshops led by the wonderful miss lee 
r. and miss rachel w. last summer, as well as 
by the fine info in a new view of a woman's 
body; the new our bodies, ourselves; and 
hot pantz zine. many thanks to them, and to 
beth c. for giving me the impetus to finally 

write all of this down. 


if you simply can't get enough of me talking 
about my cooch, check out my new sex 
advice column for punk planet, correspon- 
dence to: pobox 7564 ann arbor mi 48107 or 

Scenesters, what's up with that? What 
makes a scenester a scenester? Well, for one 
thing, there are three types of scenesters: 
band people, zine people and people that 
just really wanna be scenesters. Now for the 
most part band people don't do zines and 
zine people aren't very good at being in 
bands. Personally, eh screw this personally 
crap, it's my column: I lay down the law. 
Now I ask people who do zines sometimes 
why they do them. Now I'm talking about 
"music zines" not Beer Frame or Cometbus. 
Nobody ever gives the correct answer. The 
reason people should do music zines is to 
undo the damage that band people cause. 
When I interview a band, I couldn't give a 
rat's ass what records they listen to; the 
questions you gotta ask are going to reveal 
whether or not these people nave fallen into 
the band people trap. Now lets talk about 
band people for a second. Band people talk 
about their band too much. They always 
seem to be able to get the conversation to 
relate back to their band. Who gives a crap 
about their band? I don't. I'm a zine person, 
and bands are only there to supply back- 
ground music to the really stupid stuff. 

Now another thing bands will do is 
go on tour and focus on nothing but playing 
shows, selling merchandise and getting to 
the next show. If they have free time, they 
will sleep or whine and complain that there 
weren't enough people at the last show, 
they didn't sell enough t-shirts and they 
only got enough money to eat at Bob's Big 
Boy and they wanted to go to Ponderosa. 
Now I've never actually done this, but I 
think a lot of zine people have made the 
mistake of going on tour with some of these 
people and spent six weeks of boredom 
listening to these dopes grumble, snore and 
talk about their band. Zine people should 
leave roadying to drug dealers and the 
wanna-be scenester types. Plus nobody re- 
ally wants to read about your trip if all you 
did was watch a bunch of band people pick 
their noses and complain. 

So although band people are the only 
ones who can write a good song, everything 
else they're into sucks. Zine people are what 
makes it all worth it. Zine people are what 
makes punk a separate thing from other 
types of music. The problem is that zine 
people don't really know how to do a zine 
the right way. So anyway a few years ago I 
did this music zine. This is before I had 
figured this all out. I realized that interview- 
ing band people was very unrewarding, 

sort of like Orson Wells reading a commer- 
cial for frozen seafood dinners. The prob- 
lem is that band people think that you are 
interviewing them to advertise them and 
promote their band or something like that. 
When you ask them questions about choco- 
late drinks at hot dog stands and if they are 
too cheap to buy non-scratchy toilet paper, 
they get insulted or they get quiet, either 
way it's a real bore. 

So, I just switched gears and instead 
of doing a music zine that nad some obnox- 
ious funny things in it, I decided to do an 
obnoxious funny zine that happened to have 
some music in it. The fact is that people are 
lame; people don't buy records because you 
wrote a good review of it; they buy it be- 
cause they feel they're supposed to. They 
buy it so their friends can come over and say 
oh cool let's listen to this. 

People don't go see bands because 
they read an interview and were really into 
what a band has to say. They go because 
their friends are going. So if you think your 
zine is going to dictate what's cool you're 
dead wrong. Look at MRR; I think Tim 
tested this one well. He decided to take out 
all the indie-rock bands out of the mag and 
try to promote more of what he thought was 
punk. It didn't work, all the kids thatbought 
MRR for the sole reason of looking at the ads 
for the "cool" records they wanted to buy 
stopped reading it. 

Ok, now the voluntary scenesters are 
the people that really cause trouble. They 
don t have the patience to do a zine and 
nobody gets along with them enough to be 
in a band with them. So they either try and 
do something like setting up shows or just 
seem to get in everyone's face and namedrop 
about all the peoples faces they've .gotten 
into. This is ok. We need these people. This 
way bands and zines have people to make 
fun of because everyone dislikes a 
namedropping wannabe. Plus it's easy to 
make fun of them because they like seeing 
their names mentioned. 

What's the point here? Why am I 
blabbering about this? Well, for one thing, 
in a perfect world there wouldn't be any 
status symbols. There shouldn't be "punk- 
points/no one should care how many holes 
your boots have in them or how many gui- 
tar solos you could play in a row. But, there 
is and the sad thing is there are many more 
stupid people like that who care about these 
things than people like you. 

There are many people who get their 
asses kissed for writing MRR columns, and 
writing songs like "Teenage Supplicant" 
(there ya go I made a reference to DICK 
ARMY, Matt). These are the same people 
that can't hold down a real job, and they're 
probably hooked on crank too! If you're 
gonna do a zine you should exploit the fact 
that we live in a world of losers and degen- 
erates and use their antics for entertainment 
purposes only. Sorta like the poker ma- 
chines at the back of ice cream parlors and 
social clubs in Queens. (Ok, we all know 
those aren't for entertainment purposes 


Ok, I made no point; I'm talking out 
of my ass! Who cares! Isn't that what every- 
one in this zine is doing? Is anyone here 
really qualified to give you advice or en- 
lighten you to new things. No. Go read a 
book, that's what books are for. This is a 
punk zine, it's here to make you laugh at 
these bozos who think all high and mighty 
of themselves and get smudgy ink on your 
hands so you can wipe your face and get 
even more pimples! 

And.. . by the way. I despite my blind- 
ness I did get George Tabb (a zine person, 
for sure, ever hear his band?) to another 
country and back with no sleep because that 
bastard snores louder than anyone I've ever 
seen, even on TV. Luckily it was only for 
about ten minutes because the other four 
hours he spent complaining that he was 
lying next to the most beautiful lesbian in 
the world and it was torture. 

Oh yeah! If you can't wait to gripe 
about how I'm a sucky writer and my ideas 
are lame, and how you wanna beat me up, 
my email is I'm work- 
ing on setting up a new PO box but my old 
one (that I check like every 6 months) is Bill 
Florio PO Box 1014, Yonkers NY 10704- 



Well here I am back with the 2nd part 
of my explanation of where I am, what I've 
been up to. As I explained last month I 
started dealing speed to pay for my habit. I 
teamed up with a well-connected good guy/ 
bad ass Dave Doherty and we slung mucno 
amounts of methamphetamine. We were 
doing really well for awhile and we lost all 
caution. The first bad thing to happen hap- 
pened to my partner. A confederate of his 
sold him a Mazda RX sports car that was 
supposed to be all-good that turned out to 
be Dogusly plated. 

So one day my friend Dave got pulled 
over. He could tell something was up when 
they ran his plate, it took an extra long 
amount of time then noticed 3 cop cars 
coming from every direction. His problem 
was that he had 3 ounces of speed, $3000 
Dollars and his double-barreled shotgun on 
him. He decided to try to get away. He lost 
them for a minute or two but then totaled 
out the Mazda going 125 mph. He broke his 
leg, was busted with the aforementioned, as 
well as Reckless Endangerment and Resist- 
ing Arrest charges. He was locked up, not 

offered bail and has years to go on his plea 
bargain sentence that took int.o account that 
it was also a strike three offense. 

Right now, people all over the country 
are doing outrageous amounts of time for 
their Strike three crime. In California, there 
is a man who got life in prison for attempt- 
ing to break into a soup kitchen for food 
during the night. There are literally thou- 
sands and thousands of people, doing crazy 
amounts of time for small amounts of Strike 
three drug possessions. There's a mother of 
two kids who got life for $40 dollars of crack 
in Nebraska, a Dead Head who got 20 years 
for a sheet of 100 hits of acid in Missouri, a 
man in Alabama who got life for attempting 
to buy a pound of marijuana, the girlfriend 
in Georgia who got 15 years for holding a 
package that unbeknownst to her was an 
ounce of cocaine. There are close to 2 million 
people in this country in jail, about half are 
for drug related for offenses. 

Mandatory sentencing is forcing the 
imprisonment of 100's of thousands of com- 
mercial sales and possession drug offend- 
ers. You can literally get more time selling 
your teenage female neighbor drugs than 
you can for attempting to rape her in 20 
states. Many people in the system know this 
is wrong and a waste of money but politi- 
cians have whipped up such a fear frenzy 
with the public that they won't back down 
from it. Of course the police and sheriff's 
departments love it, not wanting to give up 
the power and the control that come with 
this misappropriation of our tax dollars. As 
we all know they have turned the social 
problem of drug use into the 200 billion- 
dollar budgeted criminal problem. Instead 
of rehabilitating people off drugs we are 
warehouse imprisoning them, often with 
draconian sentencing. 

Anyway without Dave, my partner 
around nearly everyone started hawking 
me. I got strait up ripped off at gunpoint for 
an ounce, worth over a $1000 dollars. soon 
realized how much Dave's bad ass demean- 
or was an integral part of our business. 
People in the speed world become com- 
pletely predatory towards comrades and 
business acquaintances recently busted. 

All of a sudden a lot of the kids in the 
scene got busted and a lot of pressure is put 
on the kids to snitch people out. "Snitch 
three walk free" is what the police offer. 
This is how 85% of drug arrests are made. 
That is, having recently busted people go 
before a judge, who listens to them claim a 
recent drug buys. Then the judge claims the 
person to be a Certified Reliable Informant 
or a C.R.I. So all the low life snitch drug 
dealers setup the decent ones, ruin their 
lives, as the snitch goes back out free. And of 
course the police pride themselves on this. 
So a scum bag rats out 3 little people and 
walks. This is the War on Drugs. And it 
happened to me, actually at that time I had 
pretty much stopped dealing. A scumbag, 
who I should never have dealt with, sold me 
a 1/4-ounce, then swore out 2 warrants on 
me. They got me the next morning leaving 

the house with warrant in hand that 1 certi- 
fiably reliable scumbag, Scott Kendricks, 
was expecting a delivery from me,it was 
actually what he had sold me the night 

So busted for Delivery,Commercial 
Sales and Possession of a Controlled Sub- 
stance. Bummer eh, but I really am glad to 
be clean and sober and maybe it had to 
happen.My drug counselor suggested writ- 
ing a thank you letter to the arresting officer. 
I haven't gotten around to that yet and we'll 
see about 'ol Scott. 

So, oh shit here comes the guard. I'm 
typing this column on the computer in the 
G.E.D. room at the Restitution Center. Your 
only supposed to use this if your writing a 
letter to the judge or to construct a resume. 
I could get rolled up and sent to the Justice 
Center for typing this here. By the by, the 
Restitution Center is a jail that lets you out to 
look for a job after 2 weeks, and then if you 
land one you get the privilege of paying at 
scale for your incarceration and get to keep 
what's left over. 

It sucks but at least you see daylight 
and get to save a few bucks. Its way better 
than say the Justice Center downtown which 
is the county's ultra modern pod like de- 
signed, video camera filled, lock down unit 
located on the 5th and 6th floor of the court- 
house. You are kept in a cell, with 1 or 2 
others, about the size of the inside of a 73 
Ford Econoline van. The food is atrocious 
and one is always hungry from the minus- 
cule portions.You get no outside time, no 
fresh air, no windows. It really sucks very 
bad. And that's what I'm risking typing this 
here. Clean and sober but still a risk taker. 
Anyway, back to restitution, this guard here 
Deputy Fornos hates me and goes out of his 
way to hassle me. Lately most of the guards 
look at me with disfavor. A new young 
dude saw me and went on about Dude 
Dead Cops, cool your the dude". All the 
prisoners thought me the better, but not the 
guards. They gained a whole new prospec- 
tive on Prisoner 199239 and it wasn't for the 
better. In fact my life changed for the worse 

All of a sudden my bed roll gets writ- 
ten up as sloppy and I've been getting daily 
strip searches. Stuff like this gets to you in 
here. Luckily I finally got out to look for 
work and got hired as a gas attendant. I am 
now a shift manager for British Petroleum, 
pumping gas, selling cigarettes and cashier- 
ing for 6 days a week, 9 hours a day. Swing 
shift from 2 to 11 PM I now get the satisfac- 
tion of playing loud Anti-Flag and Genitor- 
turers for my quite unpunk customers. One 
man told me he was gonna complain to my 
boss, I told him my father owned this gas 
station and that he insisted on very loud 
music. Sometimes I get in funny moods and 
play Neil Diamond or Wayne Newton or 
Dolly Parton so folks can truly appreciate 
how musically well rounded! truly am. 
Anyway, I get back to the restitution at 
midnight very little time for me to get fucked 
with. Cool with me. 

And these guards can fuck with you. 
Good people get rolled up for displaying 
any kind of insubordinate attitude.About a 
1/3 of the people don't cut it here, they get 
rolled up. Besides insubordination you can 
get rolled up for a dirty Urine Analysis 
(U.A.'s). They can follow you to make sure 
you go directly to and from your job .You're 
not allowed to stop to eat, buy a paper, or 
even talk to anyone even for a moment 
when you're on the street. A violation of any 
kind means you are to finish your sentence 
at the Justice Center. 

Calvin Betts was a guy I met here. An 
African- American in for a parole violation 
concerning repeated dirty U.A.'s. Quite the 
revolving door they got going here. He was 
near and dear to my heart because he was a 
vegetarian and tried to get the system to 
feed us Veggies better. A constant meat 
centered diet is what you get here and he got 
one of the cook's, a Miss Betty, to serve 
peanut butter and jelly on the side for us. 
Miss Betty, also African- American, is one of 
those few kind souls you'll ever get to meet 
at a place like this. She goes out of her way 
to do somethingnice for everyone. Of course 
Deputy Fornos caught wind and made a big 
fuss to have her stop serving the PJ on the 
side. Calvin was beside himself. He started 
shouting and cursing in the kitchen. Miss 
Betty tried to console him but before she 
could Calvin knocked this giant kettle of 
Sloppy Joe meat over. Everyone froze as we 
could hear the guards racing down the steps 
from their video monitoring control center 
that they loved to peer in on us all day from. 
Calvin turned to me pressed this little metal 
aspirin pillbox into my hand and said "see 
you bro". I looked at it and nonchalantly 
slid it into my pocket as Deputy Fornos and 
2 other deputies tackled Calvin, jacked his 
arms up behind his back and whisked him 
gloatingly away. Calvin was gone as were 
our veggie food offering and I watched ev- 
eryone eat there Sloppy Joes. Every body 
loves those Sloppy Joes even the guards eat 
em. Imagine crappy high school cafeteria 
food, now make it 3 times worse, wuff wuff 

In the pill box I found these tiny little 
white pills with X's on them. At first I thought 
they were trucker White Crosses and I was 
gonna chuck em. Whatever they were they 
were grounds for being rolled up. Then my 
friendMitch looked at em and told me they 
were X-Lax pills. "Whatever" I thought,then, 
I hid them carefully in the binder of my 
recently obtained New Testament Bible that 
the chaplain had issued me. 

Man I was glad to be working and be 
out of there 6 days a week. Deputy Fornos 
knew I was a vegetarian and a Dead Cop 
and as luck would have it I missed his shifts 
most of the time. Thank Goodness! At the 
end of my 60th day my counselor told me 
she was recommending me for the Electron- 
ic Monitoring Program that would allow 
me to serve the back 2 months of my sen- 
tence under house arrest with an electronic 
bracelet strapped to my ankle. With a com- 

puter hooked up to my phone they could 
randomly check up on me to make sure 
when I wasn't at work I was at home. Wow, 
no more sheriff deputy's to go to bed by. No 
more looking over my shoulder on the way 
to work and back. No more Deputy Fornos 
and no more Sloppy Joes. Really Cool! I had 
to apply and it takes a week to set it up and 
fucking eh its all set and looking good and 
then out of no where, my manager calls my 
counselor and says $900 dollars is missing 
out of the till at work and he thinks its me 
and so I'm fired. I felt so low, this I knew 
would automatically cancel my bracelet and 
probably get me rolled up. My fucking low 
life manager set me up. Hey blame it on the 
punk drug addict / restitution dude and steal 
the money yourself. I was feeling a lot lower 
than Mykel Board at any Northhampton, 
Mass. Riot Girrrrl Poetry slam. Anyway, I 
got called to work in the kitchen and Miss 
Betty was there and could see I had been 
crying and so she calls over a few people put 
her hand on my head with the other inmates 
and prayed for me. It was like a gospel 
baptism. Strange but I felt truly better. She 
turned to me and said "see David, the pow- 
er of prayer" And I thought "oh well I'll deal 
with it". It ain't the 14 months the DA's 
office had originally planned, count my 
blessings, I thought ana fight for your right, 
which I did, when I called the original hiring 
supervisor to plead my case. But first I had 
to do night clean up under the shiteating 
grin of Deputy Fornos. Quite a humble night 
for me... 

Next morning, I got on the phone, got 
through to my supervisor, named Jaime 
and begged for my job back and sure enough 
he took me back. So there I was back on track 
for my bracelet. Many folks wished me well 
that day, even many guards. Deputy Fornos 
was not one of them. He glared at me and 
silently mouthed a "fuck you" to me. It was 
genuinely surreal and scary but I knew I just 
had to keep it together for a little while then 
I'd be gone. That night at clean up Deputy 
Fornos followed me around. I couldn t be- 
lieve this small-minded malicious creep 
could give that much of a shit about me. I 
did every thing I could to be perfect and 
avoid any conflict and made to bed safely. 
Early the next morning my counselor told 
me my bracelet manager would be here for 
me during lunch, good news. Deputy For- 
nos was also around and caught up with me 
in the kitchen and in front of Miss Betty and 
other kitchen staff called me a "pussy". 
Imagine a man walking around with a night 
stick, a gun and mace acting so bully tough. 
Miss Betty called me to her and said "never 
mind that, lets say a prayer for him". I 
breathed and thought "sheeeet" but said 
okay and we prayed and it worked cause 
even Fornos can't fuck with you while Miss 
Betty is praying for you. He got embar- 
rassed and walked away. We then went 
aboutpreparing lunch: Sloppy Joe's, as fate 
would have it. I walked up to the desk 
where my stuff was set to go and told the 
Deputy Sargent that I wanted to leave the 

bible with Betty in the kitchen. I went down 
to the kitchen, gave the bible to Betty and 
did what I had to do with something else I 
had been saving. Miss Betty was making up 
the guards's food and I left something in the 
Sloppy Joe's that I knew Calvin would have 
wanted to share with Deputy Fornos. Bon 

Postnote: I am currently out of my sentence 
working on new MDC songs and working 
on my new band that I plan to move to New 
York with soon this year.Bye You all and 
email me at or write 
me -dave dictor at 110 red spring lane, glen 
cove, New York,11542 



mark murrmann 

Just dropping into the record store has 
been getting me in trouble lately. What 
should be a quick in and out has turned into 
an expensive, time consuming outing. On 
recent reconnaissance missions, I wound up 
walking outwithareissueofthe first SAINTS 
LP, which includes four bonus songs (L-I-E- 
S, Lipstick On Your Collar, Do the Robot, 
River Deep Mountain High) not on CD. 

I also stumbled across reissues by two 
crown jewels in the New York punk histor- 
ical society. Marty Thau's Red Star Records 
has rereleased The NEW YORK DOLLS 
"Live in Paris, 1974" LP and the self-titled 
SUICIDE LP! I'll admit not only being able 
to take SUICIDE in doses, which is great 
that it's been reissued. I wouldn't nave 
shelled out the cash for an original. 

And sometimes I buy records on a 
whim, just because they look like they might 
rock. I know, I know, you shouldn't judge a 
record by its cover, but sometimes you just 
know. I took that kind of chance on the 
Habeis Visto Nada" LP on No Tomorrow 
[APDO 1134/12080 Castellon/SPAIN] I 
swear it's like a RADIO BIRDMAN record 
played at 45. Not because they have chip- 
munk-like vocals, but because it sounds like 
RADIO BIRDMAN played at twice their 
normal speed. They throw in well-done 
covers ("Baby Let's Twist" and "Second 
Cousin", respectively). This is their 3rd LP 
and now I gotta hunt down their first two. 

Jim from Underground Medicine/ 
Rapid Pulse [PO Box 5075/Milford, CT 
06460] has been a very busy man. With the 
out last month, he just also released the 
newest 45 by Virginia Beach's PIMPS. It's 
loud and obnoxious, but not overboard, to 
the point of being stupid. The guitar solos 
are perfectly placed, and not too long, the 

vocals are just snotty enough. It's a really 
great record! 

Another "I don't know how long this 
has been out, but I just got it and thought 
you should know about it" record. ..The 
REDS from Denton, TX have a 7" (their first) 
that I now see came out on May 29th on 
Little Deputy [PO Box 7066/Austin, TX 
78713]. It s fast and trashy, just like a good 
Texas punk band should be, but they also 
mix in a touch of Great Lakes guitar action in 
there, if you know what I mean. And I truly 
love that they have an explicit mission to 
"liberate the brainwashed masses of 'The 
Kids' from all the boring and bland music 
present in our capitalist society and to 
achieve one goal: to Rock!" That's my kind 
of band! Hey guys, wanna do a single? 

Did you catch Roy Lonely on National 
Public Radio's "Fresh Air"? It aired the last 
week of August, but my fuzzy memory 
prevents me from remembering exactly 

Hot on the heels of the reissue of the 
debut REAL KIDS 7", Norton has just re- 
leased two LPs by Boston's finest. The first 
is called, "Better Be Good," and features the 
above mentioned single, alternate takes from 
their Red Star LP and Bomp Records demos 
from '79. The second LP, called "No Place 
Fast," compiles the REAL KIDS' "Outta 
Place" LP that came out in '82, as well as the 
TAXI BOYS mini-LP from '81. But the ques- 
tions all the fans are asking is, why does 
Norton always include extra tracks on the 
CDs? That's bogus business from someone 
you'd expect to be nourishing vinyl. 

Bitzcore lends a hand in nelping TUR- 
BONEGRO bo w out of the rock 'n' roll game 
by issuing a live double LP of their last 
show! Amazing? Do I even need to say 
more? How about this — the vinyl has five 
extra songs! They know how to do it right! 
Does anybody have a video of any of their 
shows? Let me know! This record had a 
release date of August 30th, but here it is, a 
week into September, and I've yet to see it. 

Those lucky enough to live in the Bay 
Area were treated to a very special show. 
Satz and Bob Clic of the LEWD got together 
with the LOUDMOUTHS to play two shows 

The second show (Sept. 23rd) has yet 
to happen, but the first, which took place in 
August, was a vicious sweat factory! Even 
Steve from Subterranean Records said it 
was the most fun he's had in a long time. 
And you know he's seen some great shows. 
Anyway, if you want to see some pictures 
and have internet access, go to: 

And speaking of the LEWD, Vampir 
Records out of Ohio is releasing a live LEWD 
LP, recorded in 1980 at Mabuhay Gardens. 
Vampir has their priorities straight, and is 
releasing this on vinyl only! It's limited to 
500 copies (100 on red vinyl!), so act quick! 
This is gonna be the first in a series of records 
that are billed as a "Live Documentation" of 
the San Francisco punk scene from '79-'81. 
Vampir is run by Terry Hammer, who re- 

corded lots of the shows in SF in the early 
'80s for some local radio stations. Hammer 
is looking to get in touch with people who 
were in these bands. If you were in one of the 
bands recorded (or think you might have 
been), contact Hammer at: PO Box 1098/ 
Mansfield, OH 44901 or Terry_Hammer@ 
f reenet. richland 

Compiliations! Compilations! Here's 
what's out now...Killed By Death #20 has 
snuck up on the world and we're finally 
filling out some of the missing numbers in 
the series. Among the bands we (re)discover: 
SULT, FAST CARS, and we hear again from 
the GIZMOS! 

Killed By Death #999, which I men- 
tioned last month, is just now seeing its way 
into the stores shelves. For small fries.. .Killed 
By 7" #8 follows right on the heels of #7. 
Along with that 7" comp, you should be sure 
to grab Still Hate Your Neighbors. By the 
title, you should recognize it as a follow-up 
to the amazing Hate Your Neighbors LP, 
released a few years ago. Like the LP, this 
concentrates on the oft overlooked New 
Zealand punk sewage brewing in the late 
'70s. Featured bands include: GORDONS, 

After the turd that was that last live 
RAMONES LP was flushed from your toi- 
let, be sure you don't pass on the new "Lost 
Album". It's a collection of LP outtakes, 
demo rarities and various side projects from 
'75-'99. It seems that there would easily be 
more than just one LP's worth of material, 
but maybe the compiler sifted through the 
shit and just included the best of the best. In 
the same breath, I'll mention that another 
new DEAD BOYS LP has been sighted 
(though not heard by me) called "Third 
Generation Nation". It's the "original mix- 
es" from their second LP, on Bad Boy 

If you liked the recent Stompin' 
records, be sure to set your sights on a new 
comp in the same vein called, Steppin' Hot. 
14 sizzlin' '60s soul stirrers will have you 
and your best girl tearing up the dance floor! 

Switching gears, No Idea Records [PO 
Box 14636/Gainesville, FL 32604-4636] has 
released a 4-7" compilation called Down In 
Front. It's a collection of outtakes and unre- 
leased songs (24 in all) by bands Aaron 
Cometbus has been in. Some you know and 
love, some you know and hate. PINHEAD 

Each 7" comes in a full sleeve, all four 
of which are packaged in a large white 
sleeve. Between Var and Aaron, you know 
this is gonna be a great project. Also from 
No Idea, but not so new, is the new 7" by 
PANTHRO UK UNITED 13. Their records 
are great, and this is among their best yet, 
but really, if they play anywhere near you, 

go see em! 

I've said it before, and I'll say it again: 
David Hayes (of Very Small/Too Many 
Records) is a genius! His latest work of art 
that I've picked up is a 7" compilation called 
Gerbil Assault. DING DANG, RUM- 
BLESEAT and ELMER do country-styled 
songs marinated in whiskey. The DOLO- 
MITES take POGUES-like pirate approach 
to music making. 

Last Gasps... 

— >If your band has MP3's up, drop me an 
email message! My job is to review MP3's. 
That's all I do ALL DAY LONG. It'd be nice 
to get to review some good music once in a 
while. I have found some amazing music 
online (see below for more on that). 

— >Yes, I am still collecting photos for my 
photobooth project. It's simple. Send me a 
strip (or square) of photobooth pictures. 
Include who is in them as well as when and 
where they were taken. These are going to 
eventually be collected in a book I'm work- 
ing on getting published . I need LOTS more! 
Super thanks to everyone who has sent in 
pictures thus far. 

— >Do you put out records you think I'd 
like? Let me know about 'em! Not just for 
my column, but I'm also buying records, 
building stock for a record store. I'm espe- 
cially interested (at the moment) in limited 
edition records, comps and reissues. But I'm 
buying other stuff too in bulk. And hey! If 
you wanna get rid of all your records, get in 
touch! I'll be buying entire collections soon 
as well! 

— >I gotta stay off eBay. I get too worked up 
when fuckers wait until one minute before 
the auction ends and outbid me. This, of 
course, only happens when it's something I 
really want, something I've been looking for 
for years. So here's a big fuck you to all you 
who've done that to me on eBay. I'm begin- 
ning to think there's a conspiracy. Okay, so 
one thing I got outbid on, and am now 
feverishly looking for is a book called, "In- 
ner City Sounds" by Clinton Walker. It was 
published in 1982, in Australia. Anyone? 

— >Next month I'm going to step on Mark 
Hanford's (the net specialist here in the 
MRR column pages) toes a little and do a 
column just about stuff I run across on the 
internet that may be of interest to readers of 
this column. MP3's, online catalogs, resourc- 
es and discographies. At my new job, I 
spend all day in front of the computer and 
have come across some really great 
stuff.. .and some real turds. But that's next 
month. Now, you'll have to excuse me. I've 
got to catch a plane in a few days to go to 
Deeee-Troit for the Gutterfest, featuring, 
among others, SONICS RENDEZVOUS 
PO Box 11906 • Berkeley, CA 94712 • 

Christian's Comer 


Edited by, 

Skipard Reason 

Reader Alan Louse was the only one 
to respond to my call for Christian Poetry, 
submitting the following haiku; 

I'll let you cut my hair BUT 
You're going to Hell 
Thanks in the name of Jesus Alan! I 
have two other pieces for you this month, 
both short essays. I won't say much else, 
except thanks to the contributors. -Skip 

Exorcising Our first Amendment 
Rights— By Paul E. State 

Congress shall make no law respect- 
ing an establishment of religion, or prohib- 
iting the free exercise thereof; or abridging 
the freedom of speech, or of the press; or the 
right of the people peaceably to assemble, 
and to petition the government for a redress 
of grievances. Clear and unambiguous, al- 
most to the point of being condescending. 
Yet, the First Amendment to our con- 
stitution is perhaps the most misinterpreted 
passage in all of legal text. One aspect of this 
is that .it is often used, along with Thomas 
Jefferson's widely misunderstood remark 
that the Amendment built "wall of separa- 
tion between church and state", to argue 
that government should be separate from 
religion. However, the error most pertinent 
to this essay is the belief that free speech is 
extended to the unsavory. 

It is fairly obvious that the immoral 
media are contributing to the destruction of 
our society. Some argue that art and culture 
are not destructive in themselves. However 
after looking at the state of things in the U.S., 
a glance across the Pacific refutes such claims. 
There, the Japanese continue to flourish, 
with a low crime rate, thanks to there cultur- 
al restrictions on the depictions of sex and 
violence. Even a superficial reading of the 
First Amendment is enough to understand 
that it establishes the right of government 
intervention, when the (Christian) moral 
fiber of the country is at stake. 

Certainly, in today's society this is the 
case. Satanic images assail our children 
through channels such as Dungeons and 
Dragons, and the wide use of terms like 
"Deviled Eggs." Sex is everywhere, and 
immorality is even proliferated at the sub- 
liminal level. Recently in response to Jerry 
Fallwell's discovery of homosexual mes- 
sages hidden within the children's show, 
the "Teletubbies", a reader of the Washing- 
ton Post pointed out that Barny the Dino- 
saur is an anagram for "try and abuse her- 

Such satanic machinations have been 

at work ever since the dark one evoked the 
theory of evolution by putting things on the 
earth like phony dinosaur bones, and Meso- 
potamia. However, in contemporary soci- 
ety children are bombarded with overt en- 
dorsements of depravity, perversion, and 
other types of behavior that will land them 
in hell. 

Painful though it is, I shall rehash an 
incident in my own family which provoked 
me to be more adamant in my support of my 
first amendment rights. Recently, my seven 
year old and I were going for our regular 
walk to a wooded area in our neighbor- 
hood. Each Saturday I go there to select 
switches, which I will use to discipline the 
children for the week, and it has become 
somewhat of a tradition for my youngest to 
accompany me. There, in the middle of the 
street was a scrap of paper from a porno- 
graphic magazine (I later noticed that the 
magazine title had been the bottom of the 
photo, but all that was left was ...ional Geo..) . 
Before I could snatch it up, my child had 
already seen it, the naked breast of an adult 
woman. How will this vile and disgusting 
site affect my child? Hopefully not too much, 
as I had the wisdom to immediately and 
liberally switch her with my spare switch, in 
order to create a negative association. How- 
ever, the point remains that awful influenc- 
es our visited upon our children on a daily 
basis. Smut is literally overflowing into the 

There are more examples. My son 
apparently has a rudimentary understand- 
ing of how his species reproduces.... he is 
only nineteen years old. I have recently 
found out that my children have access to 
the internet at school. Although filters, 
which block out content such as porno- 
graphic sites, and AIDS prevention materi- 
als, any child is able to access material 
pertaining to the Satanic holiday of Hal- 
loween, for example, or the homepages of 
television shows such as "Buffy the Vam- 
pire Slayer".The effects of all of this are well 
documented; countless children killed in 
school massacres, pregnancy out of wed- 
lock, acceptance of homosexuals, a nation 
bound for hell's fire. 

Iron control of the internet. Prohibi- 
tion of sexually explicit materials. Govern- 
ment boards of censors. These are the only 
measures that can counter the flow of satan- 
ic smut, and insure that our children will 
always live in a society where they are free 
to have any knowledge and beliefs we 

Mike Alto on 666: 1 think that it's really 
cool that you've added the Christians Cor- 
ner to MRR. I've always believed, but 
throughout my life, especially in highschool, 
I tended to indulge in mind altering sub- 
stances a bit too recklessly. I still find it hard 
to have a good time without drinking, but 
I'm working on it. Anyhow, I'm writing this 
to share with you an interesting theory I 
have about the communications revolution 
and the downfall of mankind. 

As we approach the new millennium, 

a person can see how far we have advanced 
in this communications revolution. In just a 
few short years the internet has become a 
daily routine for many, many people, and 
it keeps on getting bigger and better. Now 
I have no gripes about the knowledge 
gained from using the internet or how con- 
venient it is to reach people via e-mail, but 
it does scare me on how so many people are 
dependent on their computers. What will 
things be like in another five years? Maybe 
they will come up with something that can 
be plugged directly to your brain and then 
you can fully tune out of this world and live 
in cyber-fantasy land. Wouldn't doubt it. 
Ever read '1984' by George Orwell? 

Hmmmmm maybe Big Brotheriswatch- 

ing you. Another interesting point I'd like 
to make regards this Y2K problem that 
seems to be a 'wait and see' type of thing. 
What if things get all screwed up on new 
years eve? Most likely then there would be 
total chaos and martial law would have to 
be instilled. Then the government could 
use the computers to control people, possi- 
bly by one of those little micro-chips that 
can be injected with a needle. That little 
chip would literally put you into their com- 
puters, and your every move could be de- 
tected at will. That could be the mark of the 
beast that is talked about in Revelations. 
After Y2K they may require everyone to 
take the chip or you can't log on, but people 
will want it because of the convenience of 
having everything at your fingertips. I heard 
somewhere that already you can buy 80% 
of the things you need over the internet. If 
that ever happens, our warped generation 
would be totally under the control of the 
machines. Revelations said the mark of the 
beast would be on the right hand or fore- 
head, kind of paints a picture of right hand 
on the mouse, staring into the screen, eh? 
Maybe I'm off my freakin' rocker, but who 
knows, we live in a crazy world. That's all 
for now, God bless all. C-ya'!!!!! 
Mike Alto 

I do have an e-mail address that I 
check at the library's computer, send com- 
ments or questions to angryalie 

E-mails for skip or Paul should be sent 



Cars are a scourge on society. They 
hurt our air, our lungs, and degrade our 
quality of life. This column is for all you 
don't-give-a-fucks, for all the people who 
cringe when people talk political. This col- 

umn is about the MONEY you could be public transportation or safe places to cycle, of: 

saving by ditching your car. appears to offer no alternatives. To this I JUD JUD - "No Tolerance For Instru- 

I stopped paying my car insurance have to answer, "don't knock it until you try ments" EP. Yes, some more lost tunes have 
about three years ago. The bill came one it." After cycling around your town for been dug out of the vaults from these self- 
day and I had just paid around $700 to have awhile, you'll know every back alley and made legends., while not as strong as their 
the brakes repaired. I was fed up, and decid- quiet street in the city, and as your fitness debut, this is pretty good But I have to let 
ed right then and there to give up my car. I improves from all that pedaling, distances you know, Left Jud, otherwise known as B 
parked it in my driveway and it sat for over will seem shorter and less daunting. Riding has fallen, yes its true dudes. I see him on 
ayearuntillfinallysoldit.NowIgetaround the bus takes a little practice — once you campus and he's not looking too good these 
town by bicycle. It takes me 30 minutes to learn the schedules and routes, most sys- 
get to work each day on this route I found terns are somewhat convenient. For you 
that is actually really fun to ride. poor souls who live way out in the suburbs, 

I recently did a little bit of research to moving closer to your job is probably the 
see what it really costs to drive a car today, best option. Without a car, you can afford to 

days. Another one of our hero's have fallen 
to the temptations of college life, but rumor 
has it that some kid from Sarasota is going to 
beat some sense into him. This is on Sche- 
matics which is distroed through No Idea, 

Here are the figures I came up with for a 20- pay over $200 per month more for rent! Of so get it while its in press 

year old male, driving an '82 Toyota Celica course, bikes and buses aren't free, but the TIME FLIES - "On Our Way" LP Good 

y a e ilr« $2 P 00 ' Insurance quotes ranged costs are relatively insignificant. Riding the hardcore that has a little melody in it Re- 

f rom $850 to $1200 per year, so we'll go with bus will run around $500 per year, but bikes minds me of the TURNING POINT LP yet 

a £ a ^ era u ge oWOOOperyear/OT this column are the cheapest option, averaging $100 per the vocals seem more sincere. A little re'pet- 

(that s about $80 per month). The premium year or less. itive and cookie-mold, but there are some 

depends on the type of car you drive, and I'm not saying that life without a car in songs that stand out on this (especially the 

whether your driving record is clean. Regis- the USA is easy. It can be challenging. The track "Nobody Knows") indecision 

tr u ah0I J-^ d ' smog c , hecks " m Nevada runs fools who plan out our sprawling cities are Records, Po Box 5781, Huntington Beach 

about $70 per year, depending on the age of largely to blame for this. The infrastructure CA 92615. " ' 

your car. Registration is cheaper in some that is shaped by their planning regulations FALL SILENT - "Superstructure" LP 

s more expensive in makes people believe they need to drive. As Well the vinyl of their second full length is 
more cars crowd the streets, there is less 
room for people and bicycles. Our govern- 
ment, directed by the auto industry, is try 

California. Repairs and maintenance, which 
include tune-ups, break-downs, and car 
washes is very conservatively estimated at 

$500 per year. Gasoline came to $420 per ing to force all of us into slavery to cars. If 

year, which is based on an average price per you can free yourself, the rewards are great, 

gallon of $1.20, and driving 7,000 miles with You can forget about the stress of dealing 

a fuel efficiency of 20 miles per gallon. Most with a car, get in shape, and save a shitload 

people I talked to drive more than 7,000 of money, 

miles in a year, so this is also a conservative Pete / Po Box 204 / Reno, NV 89504 USA / 

estimate. Total cost per year comes to $1990 
per year. Finally there is the actual cost of 
the car. I'm going to use a one-time pur- 
chase price of $2000, which is extremely 
conservative considering most people make 
payments which include exorbitant interest 

Costs not included in my research are 
traffic violations, parking fees, health club 
membership (to make up for lost exercise), 
and a car stereo (for entertainment while 
sitting in traffic jams). These are optional, 
and are left out of these figures, but most 
people devote some good money to these 


X» i jti i\ Jni Jrl A J?v 

Hey what's up I'm finally getting 

some response out there from people whicF 

out.. .and man, I cannot express how awe- 
some this slab is. Find out what you have 
been missing for the past 6 years. Write 
Satan's Pimp at, Po Box 13141, Reno, NV 

KIDS LIKE US - "Truth Alone Tri- 
umphs" EP Norwegian straight edge that is 
what you'd expect from Commitment 
Records. Retro-88 style, but with a little 
more melody than yourbasic straight ahead 
88 style band. Commitment Records, Klein 
Muiden 38, 1393 RL Nigtevecht, The Neth- 

ONE MORE - "They Say The You Sold 
Out" EP Also from Commitment, these 
straight edgers from Belgium play some 
pretty aggressive retro-88 hardcore. While 
nothing appears mind-blowing on this re- 
lease, the maintained speed is a little faster 
than your-run-of the-mill retro band and 
the vocals are a lot rawer too. Commitment 
(see above). 

VITAMIN X - "Once Upon A Time" 
EP. VITAMIN X's second Ep is faster and 

So, in the three years since I ditched makes me realize that maybe 2, 3 or maybe more aggressive than their first Good re- 

my car, I figure I ye saved around $8,000. even 5 people read this thing. I still haven't lease, and again if speedy 88 style sxe is your 

Let me just write that number out for you: gotten as many tapes as I would have liked cup of tea, get all three of these Commit- 

hight Thousand Dollars. What can one do to (I want to help those bands that have just ment Records 

with Eight Thousand Dollars? Take a trip started out, not the band that has toured the 

around the world. Start a record label. Buy 
some really fucking sick-assed equipment 
for your band. Get together with a couple of 
your auto-free friends and open up a punk- 
rock club. Put a down payment on a nouse 
(goodbye, landlords!). Or just work a whole 
lot less (at $7 per hour, you can work 380 
fewer hours per year, which is seven fewer 
hours per week — you could have a 4-day 
work week! ) Just think of all the records you 
could afford to buy!! 

Many people, even with this knowl- 
edge, can only helplessly shrug their shoul- 
ders. I've heard it 100 times: "I have to have 
a car! " They might live really far away from 

world 3 times). ..but what the hey. 

I'm back in school, which is good and 
bad. For one it means that 75% of my time 
has vanished, but on the other hand I'm 
doing what I really love to do (besides start- 
ing the pit that is). I walk around campus 
under the realization that this is my last 
semester and it occurs to me how much I 

actually like scholastics who would have 


Ok enough of this personal-emo-manila- 
envelope bullshit.'s time to 

Ok, here's a quick summary of some of 
the items that appear in our regular review 

their job, or in a city that, lacking convenient section that I think you should take notice 

thought BLOODPACT were going to be 
ultra-metal, but instead they combine a lot 
of modernday influences with speed. I guess 
you could say a blend of old and new. 
VARSITY combine melody with speed for a 
great debut (I think its their debut). They 
remind me of UPFRONT a lot. While the 
production for both bands could be a little 
thicker, both bands offer sincere efforts. 
Check it out. +/- records, Po Box 7096, Ann 
Arbor, MI 48107. 

All right, here's some column stuff for 


EYELID - "Conflict's Invitation" EP. 
When I saw these guys at one of the Califor- 
nia Takeover shows (god, when was that, 

96?) these dudes appeared to be a run-of- 
the-mill STRIFE-ish band. I must admit I 
haven't been following their progression 
after their first two Eps, but this Ep is a lot 
different. Really original well played metal 
hardcore that reminds me of 
KISS IT GOODBYE (that's the closest com- 
parable I could come up with...). Its most 
definitely post-hardcore, but they've found 
a style that they are good at. Not really my 
style of music, but I am waiting to see what 
these dudes do next. Indecision Records 
(see above). 

GODBELOW - "Black Dog's Head 
EP. Some rocking metal. ...and I mean 
rocking.. .kinda like groove metal. Not my 
cup of tea. Surface records, Po Box 23313 
Rochester, NY 14692. 

SION - Split EP. Woh, Germany's D.J.P 
sound like a hardcore band gone black 

metal fans of German metal-core take 

notice...this shit is evil with a capital E. 
Layered guitar riffs (with some melody 
thrown in) with super high pitched vocals. 
Its a style that has been done numerous 
times, so fans of that style take notice. 
AVARICE plays more straight forward 
metal-hardcore. It would have been hard 
for any band to outshine D.J.P on this one. 
Alveran Records, Po Box 10 01 52, 44701 
Bochum, GERMANY. 

Deceiver" CD. I'm glad I got a copy of the 
CD cuz I couldn't read the 10" cover at all! I 
must admit, I was super stoked to see metal 
come in to the scene in the late 80's and early 
90's but I have grown tired of the style. Some 
bands though, like DEU, can keep my inter- 
est. A good effort (especially because of the 

blast beats!). nA o™ 

Also from + /- Records is the EARTH- 
MOVER Cd. While this has been out for 
awhile (and released in Europe by Good 
Life) this is one of those metal releases that 
seriously floored me. I may not listen to it all 
the time, but I have to admit it is damn 
heavy. The people at +/- have put out a ton 
of releases recently and they have proven to 
be a prolific label, so write them and get a 
catalog. +/- Records (see above). 

Ok, I can't help but throw in some 
good ol-fast thrash releases that I think you 
should take note of, see here's a quick run 

down... , _„ . 

The REDRUM Ep put out by 702 is 
awesome. Fast and pissed off thrash that 
reminds me of a faster COP OUT. Check it 
out. 702 records, Po Box 204, Reno, NV 

The new E-150 Ep is insane. Super fast 
Spanish hardcore that reminds me of MK- 
ULTRA. I guarantee that these dudes will be 
your next favorite thrash band .Write em at: 
BCM, Apdo. 601, 08913 Barcelona SPAIN. 

I just got a demo from BREAKFAST 
from Japan, (who are ex-OAC..they had an 
Ep on Pusmort awhile back) and it shreds. 
Fast and chaotic old-style skate-thrash, with 
tons of BLACK FLAG / BOSTON 82 ele- 
ments. Funny thing was I just ran into one of 

their members at a new skate spot in 
SF...small world! Thanks to Shane inTokyo 
for sending this in! Write BREAKFAST at 
Hiroaki Sakai, 3-12-11 Takamatsu, Toshi- 
ma-Ku, Tokyo 171-0042, JAPAN. 

Ok that is it I can't stress enough 

that I need you contributions to make this 
column work. Many props to both Shane 
(Tokyo) and Andy at +/- Records for con- 
tributing this month. I'm still on the look out 
for demos, mainly of youth crew / sxe bands, 
but in all honesty, fast-thrash bands too. 
When I started this column, I thought I 
would try to restrict it to the "sxe" scene 
(metal and retro) but my real passion in fast 
thrash (as those who know me will testify 
too) so send in tapes damn it! 

Oh, last couple of tidbits.... Underesti- 
mated from Illinois is re-releasing the OUT- 
LAST 10" as a 12" in the US so now all you 
kids can check out one of the best youth 
crew bands to exist in the 90's. GOOD 
CLEAN FUN played a couple of shows on 
the West Coast, and I heard that they hooked 
up with Cleveland's COMMITTED down 
in Los Angeles. Now there's a show I would 
have liked to seen. „»,,»« 

Ok write to me at: Po Box 423413 San 

Francisco, CA, 94142-3413 USA and send 

any info / demos /vinyl that you think needs 
to be included in this column.... oh and the 
new SP AZZ LP is out on Slap A Ham (shame- 
less self promotion...! know). 

Rotz Troubles: 

(all misspellings and other mistakes are tran- 
scribed exactly as they appear in the letter and all 
quotations. The only change made was to use 
upper and lower case in place of all-caps.) 
Dear Jenny oop . 

If you are tired ofus imagine how tired 
weare about you with your childish, win- 
ning, unprofessional attitude. Mainly me. 
After trying to be nice, considerate, helpful 
with you I can tell you that I wasted too 
much time with trying to make things easy 
for you especially because poeple, many 
poeple, warned me about what a pain in the 
ass you are. Now I beleive them. I am not 
even going to waste any more time with you 
and your false allegations (you are good at 
that) and I am generously sending back to 
you 10 CDs x $7 = 70.00 

And you can keep the change! And 
nobody is trying to short you up of any- 
thing. Not anyone is vicious as you are and 
stop projecting your own behavior on other 
poeple. I can care fuckin less about 9 CDs 
dude. My life is above way above this. So 
now you can kiss my ass and leave us alone. 

Now had I not received this written 
diatribe filled with false accusations and 
slander I might have done just that, left 
them alone. (It is usually not a good idea to 
write a nasty, slanderous letter to someone 
and expect them to leave you alone, though 
most of us already know that.) This is far 
from being the first time Rotz owner Kai and 
his wife Agnes have tried to project their 
poor behavior and judgement onto others, 
and it is high time for this, amongst other 
problems, to be publicly addressed. I also 
want to make a very large public apology to 
anyone who read my article quite a while 
back on honest distributors where I had 
praised Rotz, decided to use them, and had 
problems. I am quite sorry indeed. Now on 
to Kai's message enclosed in that same box: 
"No no one is tryingto screw nobody is after 
you Mr Paranoid. This was only a mistake 
or because the product was not anymore in 
the computor or I always had it at the wrong 
price. Do you really think I care for pennies. 
Wake up dude! My life is worth more than 
that. So long." Kai Odd how Kai's "mis- 
takes" always end up in Kai's favor, but I 
guess this was all just one big coincidence 
and I'm being "Mr Paranoid." So if he al- 
ways had my specially priced comp EP at 
the wrong price, then how come he returned 
one at $4.00 and one at an inflated $7.00? 
Anyhow let us move onto a bit of a preemp- 
tive strike on my part, not to pat myself on 
the back and show what a wonderful guy I 
am ('cause like everyone else I sure have my 
flaws), but to combat any future claims by 
Rotz of me being unable to get along with 
my label's distributors, here they are in their 
own words: , 

"Brian has always been very fair to 
me, his service is great, and we've never had 
one misunderstanding over the years I've 
worked with him." -Chuck, Deep Sound 

"Brian has always taken care of us 
properly, doesn't whine about money or 
anything else, has always been very easy to 
deal with as well as being one of the more 
honest people we work with." -Dan, Sound 
of California 

"Brian has been one of the easiest going 
people that I've ever dealt with. People with 
really straight forward /punk ethics do great 
with Brian, and I've known him for fifteen 
years." -Bill, Sound of California 

"As far as I'm concerned Brian is an 
easy guy to deal with and fairly reasonable." 
-Steve, Subterranean 

"Brian has always been quite patient 
and nothing but nice to me." -Aaron, Sour- 
tooth ,, 
"Brian is a pretty straight shooter and 1 
know that his word is always good." -Bob, 
Sound Idea 

"Brian is nothing but full of honesty, 
integrity, willing to help small people out, 
and is one of the easiest going people I've 
ever worked with. -Bill, Dr Strange 

"Brian is a really really nice guy. We've 
dealt with him for a while, never had any 
problems with him in the past and I'm sure 

we won't in the future." -Angela & Wolf- 
gang, New Lifeshark 

"Brian has never started any bullshit 
with me and is a very understanding per- 
son." -Richard, Agitate 96 

"We dealt with Brian once so far and it 
worked out perfectly." -Alfred, Green Hell 

"What strikes me the most about Brian 
is that he is an easy person to deal with and 
I've never had any problems, not one." - 
Armin, X-Mist 

"Brian is to the point of being super 
efficient, has never caused problems, doesn't 
whine, and has a sexy phone voice." -An- 
drew, Revelation 

"Brian is a prince. I've never had any 
trouble with him and we've been dealing 
with one another from day one of his label. 
-Jon, K Records 

"Brian has never been a headache for 
us to deal with, nothing has ever arrived 
damaged, we always get what we were prom- 
ised, and is essentially hassle free unlike alot 
of the people we deal with." -Sonny, Bottle- 

"I've had no problems and no com- 
plaints in my dealings with Brian." -Mark, 
Carrot Top 

Um gosh um "sexy phone voice"!?! 
You guys are making me blush. But serious- 
ly, I'm not perfect (I just try not to shit where 
I eat). So Agnes, who are these "many poe- 
ple" that warned you "about what a pain in 
the ass" I am. Do they live in Magic Unicorn 
Land ? Assassinating someone's character by 
telling them that they basically suck because 
"many poeple" say so is so preschool. Now 
who is being "childish" ana "unprofession- 

So now you are asking me what the hell 
all led up to this clash of the titans (har har) 
soap opera? Well let us all go back to when I 
first started dealing with Rotz and get to how 
this impasse came about. I believe I was the 
one who made the first move by contacting 
Rotz after several friends' labels recommend- 
ed them highly. Rotz placed an order and I 
informed them that I would be shipping it 
UPS via one of those box rental type places; 
so it would be quite a bit higher than just 
dealing with UPS directly, (fll admit that 
this was not the smartest way to ship and you 
learn things as you go along, but ney, they 
were warned.) Once the package arrived I 
got a call from Rotz. Kai and Agnes were 
totally irate, claiming that I never properly 
warned them of the higher shipping costs, 
was trying to rip them off, and would not pay 
what they considered to be the extra markup. 
I gave them two choices, to either pay it or 
never get anything from me again; as I did 
not care for their insinuations that I had tried 
to pull a fast one on them. After much com- 
plaining about how that extra fourteen or 
whatever cents per CD shipping was going 
to make my stuff unsellably high (Again, not 
the brightest way to ship, but still no other 
distros were having problems selling my 
CDs because they were "too expensive."), 
Rotz agreed to pay the invoice in full. Upon 
the urgings of a friend who told me that 

while Kai and Agnes might not always be the 
most tactful, they were super honest, I kept 
doing business with them. As time marched 
on their orders became larger and more fre- 
quent, with payment being sent the very 
second it was due, without so much as a 
whimper out of your truly. Dealing with 
Rotz was like money in the bank and I con- 
stantly told them how much I appreciated 
their service, directing many labels and stores 
their way. Sure every now and then Agnes 
would give me an ultimatum of you must do 
this or that or we won't sell your stuff any- 
more. I would say fine, don't sell it, and we 
would continue to do business no problems. 
A while down the road rumors started float- 
ing around that Rotz was going out of busi- 
ness or being sold, so instead of repeating 
what I had heard, I called up Kai to ask him 
directly about these rumors, and he assured 
me that they were just a bunch of bullshit 
started by jealous competitors. We had a nice 
long friendly chat and he admitted to occa- 
sionally jumping the gun on thinking he's 
being ripped off, and doing business too 
aggressively. (And now's about a good time 
for a couple quotes from stores.) 

"My only experience with Rotz was as 
a store, and Agnes was way too aggressive 
for me to appreciate." -Bob, Sound Idea 

"A while back I started getting a few 
things from Rotz and everything went 
smoothly. It didn't take long before Kai was 
calling me once every couple weeks and 
getting kinda pushy about us taking an or- 
der. He was running out of titles we needed 
and trying to push other stuff on us that we 
did not need, to make our orders larger. I 
eventually had to give him the light brush off 
because he was becoming much too aggres- 
sive. Pretty soon he was calling claiming that 
I owed him for an invoice that we had previ- 
ously paid cash COD on, threatening to come 
after us if we didn't pay him." -Darren, own- 
er of Vinyl Solution in Huntington Beach, 

In Dec. of '98 I informed all of my 
distros that I would be taking a two week 
hiatus before the end of the year to avoid the 
X-mas shipping crush and to get some per- 
sonal stuff done, so get what you need now. 
Rotz called me during what was supposed to 
be my break, desperate to fill a large order 
they had just taken, which didn't surprise as 
Agnes had once awoken me on a Sunday 
morning to place an order. I whined a little 
and then filled the order figuring what the 
hell, they've been good and the extra money 
won't kill me. I would discover how easily 
Rotz could turn on you, out of nowhere. I 
shipped two boxes (one with 121 CDs, the 
other 124) and I was informed by Rotz that 
the box containing 121 CDs never arrived. 
When I asked them to check the local post 
office (it had been sent book rate return re- 
ceipt) for the package they had been so con- 
cerned about receiving, they started acting 
like it was too much of a hassle to do (though 
it was okay for me to send it during my year 
end break). By the time they checked for it (if 
they ever did?), the box had been sidelined 

on its way back to me, making me think that 
it was lost, though it did eventually show up. 
Immediately after the new year I received 
and shipped an order for CDs totaling 
$2,646.7(3, and not wanting to risk such a 
large loss should they vanish en route, I had 
them insured. This jacked up the shipping a 
whopping $8.60 over what UPS would charge 
to ship the $2,646.70 order, big fucking deal. 
Rotz of course kept insisting that I was trying 
to overcharge them $26.06 and were deduct- 
ing it immediately. I called UPS four differ- 
ent times and got a different person each 
time who told me the same thing, the differ- 
ence was $8.60 and the only way that it was 
$26.06 was because they had a special busi- 
ness account price; though Rotz swore they 
were not calculating the difference using this 
account price. Around this same time they 
were claiming that the box I had shipped 
during the holidays containing 124 CDs was 
missing 9 CDs, which they were also auto- 
matically deducting ($63.00). When I sent 
proof of shipment and asked how on earth 
could a box supposedly containing 6 less 
CDs than another box shipped at the same 
time cost $0.39 more to ship, Agnes' response 
was basically we don't care what you say, we 
did not receive them and are not paying for 
them. At this point I simply could have 
dropped the matter, but I figured that if it 
was $17.46 shipping and 9 CDs now, what 
was it going to be next time; so the arguing 
went back and forth, off and on for what 
probably amounted to close to two hours 
total, during which time I repeatedly warned 
them that if they kept it up I was going to stop 
dealing with them. Around the very end of 
April/beginning of May I got a call from 
Angie to place an order. 

I'd like to take a pause here to state that 
I pretty much got along great with the other 
people who worked there and I am still cur- 
rently to this day in friendly contact with a 
couple of them, though I can't exactly say 
whom, as it wouldn't sit too well with either 
Kai or Agnes. While I was dealing with Rotz 
I noticed that the people who were contact- 
ing me for orders kept changing; and I heard 
that Kai wasn't exactly the easiest person to 
work for. I didn't know the half of it. 

"They don't treat people like people, 
with any sort of mutual respect. They expect 
loyalty and don't give it back. They are very 
paranoid and act like everyone is out to get 
them. Within the year and a half that I worked 
there they went through 30 employees." - 
Rob Hernquist, ex-Rotz Sales Rep Nov. '97- 
May '99. 

"When I walked in and explained to 
Kai why I was leaving and how nobody was 
able to survive on $5.15 an hour, which was 
a below minimum wage training wage, he 
said 'If I give a dollar an hour raise now, who 
is to say that you won't come to me in another 
year and want another raise.' Kai and Agnes 
are also extremely paranoid. I could not han- 
dle working there any longer." -Leigh- Anne 
Peper, Shipping and Receiving Oct. '97-Feb 

"All warehouse employees and sales- 

people start at $5.15 with no benefits and no 
paid vacations, and no one seems to last long 
enough to get to that point. Everyone in the 
warehouse got together, approached Kai 
about a dollar an hour pay increase, and Kai 
told them to start looking for another job. 
That day 4 warehouse workers walked, and 
the ones that stayed got a ridiculous $0.25 an 
hour raise and a pizza. I've seen the way he 
always pushes people around and it's not 
cool. -Joe Phillips, Shipping and Receiving 
Aug. '97-Feb. '98. 

"Any new employee is pushed to sign 
a one year contract promising absolutely 
nothing on Rotz's end but demanding that 
you work a year no matter what. I wasn't 
exactly the best employee but I wasn't going 
to kill myself working there seeing as how 

Poorly they treated their workers." Todd 
aglialong (Apocalypse Hoboken), Shipping 
and Receiving, Mailorder Receptionist Oct. 
'95-Jan. '96 and Nov. '96-July 97. 

"There are so many bad things to say 
that I don't know where to start. Basically Kai 
has a very me-centered attitude and every- 
one else can fuck off." -Ken Fitzner (Bollwee- 
vils), Shipping and Receiving Dec. '92-July 

Anyhow, back to where I had left off 
before the pause. I refused the order, ex- 
plained my problems to Angie and eventual- 
fv after having to go back and forth with 
Agnes through Angie, I was put directly over 
to Agnes. Immediately Agnes started acting 
like no one ever said that 9 CDs were missing 
and what was I talking about. Agnes then 
offered to pay half of the $26.06 shipping 
even though they could not afford to, in a 
way that sounded like I was being offered a 
left kidney. After that Agnes started raising 
her voice and getting upset so I just pointed 
the phone out into the air away from my ear. 
Soon Kai was on the phone and immediately 
started trying to talk down to me like I was 
some dipshit flunkie, and every time I tried 
to get a word in edgewise he kept rudely 
talking right over me. Next Agnes spoke 
with me and I told her that she had better let 
Kai know that the next time Kai talks to me 
like I'm a piece of shit it's over. After Agnes 
tried to make up the excuse of that's how he 
argues, and I wasn't accepting it, she asked 
me to tell him. At that point I said "No, you 
tell him!" Back to Kai and the first thing I ask 
him about again are the 9 "missing" CDs. He 
tries to act like "What 9 CDs?", until I pushed 
on it some more and he finally irritatedly 
snaps at me "Our mistake, okay!?!" I then 
asked why he deducted the so-called $26.06 
shipping overcharge from an earlier invoice 
since hehad not even paid me for the invoice 
yet that "supposedly' had the overcharge on 
it. In other words, how do you take hack 
money that you did not pay? Kai made some 
excuse of him just trying to always stay on 
top of things, another "mistake." Then Kai 
proceeded to tell me twice that "You're lucky 
that someone here likes you.", and how they 
normally refuse to accept orders shipped by 
the post office. (I silently wondered, hef ore 
or after they're sent!?!) Then after slagging 

the post office, Kai says that "The idiots that 
answer the phones at UPS don't tell you the 
same thing twice." I responded with 'You're 
right Kai, they don't tell you twice. Those 
idiots told me the same thing four different 
times and the price difference was $8.60!" 

After a pause of silence on Kai's end he 
says "I coulcf say something right now.", to 
which I responded "Then say it." Kai then 
replied with If you were a professional you 
would have a UPS account." Once again I 
had to explain why I didn't want to pay UPS 
to come by my place every day because I 
wasn't shipping constantly, and Rotz was 
the only distributor that I had who were 
complaining about not using UPS. I also let 
him know again that before I had to start 
insuring things because of the bounced pack- 
age, I had been saving them plenty over UPS 
prices. Kai's response again was 'This is the 
way a professional does things." Then I want- 
ed about all the invoices he was late on 
paying me. 

Kai did some quick checking and came 
up with about $1800.00 owed. I told Kai to try 
more like in the neighborhood of over 
$4000.00. Kai does some more quick check- 
ing and says "Oh you are right, I thought I 
had already paid you for those." (At this 
point I should have popped off with "If you 
were a professional you would have already 
known how much you owed me and paid 
it.", but I was trying really hard to be diplo- 
matic.) Kai now says "You know that I'm 
honest, so if I tell you that I'm putting your 
check in the mail right now, will you ship us 
that order right away?" ("Check's in the 
mail.", haven t heard that one before!) 

It wasn't that simple. 

But I'll have to end it right here, and 
possibly pick it up at a later time, as this 
column is already too long. The preceding 
was not intended as any sort of personal 
vendetta, but just as a sample of what some 
people have been going through, and how 
it's not acceptable to treat people this way (I 
could have heen "vicious ', but that wasn't 
the point). 

Also it's not just me who's had prob- 
lems with Rotz, but E-Mist Records, Unclean 
Records, Angry Thoreauan magazine, Re- 
cess Records, etc. (If I get any harassingphone 
calls I will hang up and immediately call 
back on the 800 number to explain proper 
phone etiquette.) -Brian GTA, 501 West Gle- 
noaks Blvd. Suite 313, Glendale, CA 91202 

I just opened a big, fat package of joy, 
and I'm not talking about jellyrolls. Brain 
Transplant just sent me a dazzling bag of 

new reissues /previously unreleased mate- 
rial gems. To the chase. . . first up, we have 
the GRIM/KLONE BAND "Back On The 
Street" EP. Grim/Klone released one of the 
true KBD greats of '78; their "No Excuse!" 
EP (Disposable) can be heard on Killed By 
Death #10. This new EP is comprised of a 
three-song practice session. The styling and 
sound quality are pretty much on par with 
some garagey Radio X releases, only 15 - 20 
years earlier. Second up is the INSULTS 
"Insults to Injury" LP. This Monterey, Cali- 
fornia early punk outfit were responsible 
for two exceedingly rare and terribly great 
7in., "Population Zero" and "Stiff Love". 
Both singles were released in '79, though the 
second 7in. features a different singer. This 
LP is comprised of the entire session from 
the seconcl 7in. with some mad Frenchie on 
vox. Among the 15 songs, you get the best 
track from the original 7in. ("I'm Just A 
Doper") plus some well-chosen covers (they 
covered the Dils "Class War" less than two 
years after its release on Dangerhouse) plus 
some great unreleased tracks especially ' I'm 
So Twisted". Last and certainly not least of 
the group is THE MAD, weighing in with 
two releases. The first is a two-song 7in."I 
Wanna Be A Devil" b/w "Eyeball". These 
tracks were pulled from a one-off acetate, 
the only place where the songs exist. Tech- 
nically, this is a DISGUSTING release., a 
pre-Mad band without one of the guitarists. 
Screaming Mad George's guttural, Japlish 
lyrics are up front and great. The B-side is 
the original version of a song that appears 
on the band's incredible first 7in. (a top 10 
choice for me, by the way).'The second Mad 
item is a 12in. which features both songs 
from their first 7in. ("I Hate Music" and 
"Eyeball") plus unreleased songs from the 
same sessions. The LP jacket is a great exam- 
ple of Screaming Mad George's twisted artis- 
tic vision. Truly awesome. The Mad were as 
over-the-top as any band I've ever heard of . . . 
shock was the name of the game, and these 
sickos ran the show. The booklet cites many 
examples and has photos to prove it. Start 
your mail order engines now... the Brain 
Transplant releases tend to disappear in a 

Also recently released was Frank Man- 
ley's SMASH THE STATE volume III LP, a 
compilation of rare and obscure Canadian 
punk releases. Almost all of the LP rocks 
especially the hardcore outfit, the Dischords. 
There are, of course, some lame-o tracks, but 
they are overshadowed by the great inept 
punk rock tunes also on the LP. Great booklet 
to boot. 

In the Death of Hardcore department. . . 
on a recent trip to Portland, I took a tour of 
local strip bars (trust me, NOT my usual fare) 
with a friend who lives in the area. Among a 
night of many let's-get-the-fuck-out-of-here 
moments, there was one truly momentously 
sublime moment: a nubile, terribly talented 
Tori Amos look-a-like stripper writhing 
around to - you're not gonna oelieve this - 
Minor Threat's "In My Eyes". The irony of 
the combination was not lost on me or my 


friend. . . thefathersof thestraightedgemove- 
ment were background music at a titty bar. 
Too classic for words. . . we could only shake 
our heads and smirk and - to round out the 
picture - order another drink. 

Finally, in the self-promotion depart- 
ment, we have the TEXAS TOAST website. 
I've been scanning in sleeves from rare Amer- 
ican punk releases and slowly filling in bio- 
graphical information for each band. It's a 
work in progress and not all the links work, 
but those with web access and time to kill 
should stop on by: http:// 
Peer Pressure, P.O. Box 49984, Austin, TX 


wtiktwm cumij 

I'm very proud of #198 — my internal 
dialogues and the ones on vinyl, in print, are 
right on target this month. So here's some 
more thoughts, about resisting the cleans- 
ing of our neighborhoods and grammars, 
and demanding the Man leave our coffee 
the fuck alone! !1 

Great! Best! Absolutely! 

We are throwing away our words like 
used Kleenex, these days. An example: from 
one day to the next, the coffee shop across 
the street from the record store (where I 
work — you know, for money) has adopted 
theshort/tall/grande/veinto(?!?) "system" 
for describing the sizes of their cups. A 
system, because this list of adjectives is bla- 
tantly an act of marketing. Selling — not even 
a product — but eerily, the sales pitch itself. 

The relaxed, moneyed San Franciscans 
trot in with small dogs on leashes and clean 
casual clothes and begin ordering tall decaf 
caps, and short non-fat lattes. I watch their 
mouths when they say it, and do not detect 
a pause, a stumble over the word short used 
so suddenly out of its regular context. The 
facility with which they snatch up this new 
vocabulary disturbs me. Tossing away ad- 
jectives may seem like a noncommittal sac- 
rifice, but I see it as a symptom of how, more 
and more casually, we give away our power 
of description to whoever takes the initia- 
tive to grab it. 

It s as if we slowly began to feel that 
plump /skinny/fat /tall, etc. were no longer 
adequate words for describing people, but 
that instead we had to be referred to, say, as 
small /medium /large /XL /XXL, after a com- 
prehensive Gap marketing campaign. To 
describe them at the convenience of cloth- 
ing peddlers. It's already happening. 

In English we've nearly lost, for exam- 
ple, the ability to communicate intensity in 

simple words. Our once-precious superla- 
tives: Great! Amazing! Unbelievable! Abso- 
lutely! Incredible! Most! Best! have become 
so diluted in meaning, and so overused, that 
they're no longer powerful. These days, it 
takes a fucking artist to describe a truly 
special cup of coffee. (Or record, for that 
matter — how many times have you read 
about "amazing", "incredible" bands ?) Once 
again, commerce is the villain — redundant 
and exaggerated advertising, starting with 
print and taken to the stars by television, has 
left us with one less tool to express degree. 
In its tendency to assert control over 
even the most benign idiosyncrasies, the 
culture-at-large is especially nervous about 
the "wild spaces", organic language. (Black 
English is a good example — a non-standard 
dialect by its nature threatens government 
control. As a creative force and binding 
social net, the power of this is undeniable, 
though the media, operating primarily 
through the school and work forces, has 
denied it as long as possible. Until fairly 
recently, American Black dialects were not 
recognized as a legitimate linguistic bodies, 
and were kept isolated from power by their 
characterization as a bastardized forms of 
English, primitive and sloppy. This is the 
general pattern. When finally, under politi- 
cal pressure, the dialect is worked into the 
mainstream, it is once again via marketing, 
in TV ads and sitcoms. The result is still a 
crude offensive sketch, but with the stigma 

Language is a relentless force — we 
automatically create new expressions when 
they're needed. But just in case, hold onto 
your adjectives. When a new Unamerican 
Activities Committee calls you on the bench 
for crimes of art or thought, they may be the 
only weapons you have. 

More Bulldozers 
I was hanging out on Gilman St. when 
I was six, man. That's how old-school J am. 
Of course, the club wasn't around back then. 
The PicNPac, where the punks buy cans of 
Olde English to drink clandestinely in the 
surrounding alleys, was there, in all its 
flourescent glory. So was a dusty little red 
theater called the Rialto, with one shoebox 
screen. The longest stretch of childhood I 
spent in one interval, in one place — was 
then and there — between four and eight, off 
Gilman and Sixth. Nine years later I was 
back, only visiting the neighborhood, bop- 
ping around to.. .you know, those bands, 
that came up with that sound... 

"The Albany Village" is a group of 
apartment buildings, built during the Sec- 
ond World War as barracks, and later used 
for UC Berkeley student housing. The apart- 
ments were papery and utilitarian— four 
rooms to a unit, six to a building, four to a 
block surrounding a grassy courtyard for 
drills (or kickball.) And three of us, in the 
apartment — two kids to a bunkbed, one 
father (stepmom to arrive later), making a 
chicken last a week, fishing tadpoles from 
Strawberry Creek, that ran under the streets. 
Recently, after years of passing by, I 

drove the Maximumrocknroller through the 
compound to show off the wellspring of all 
this twisted nostalgia — drove aroundin cir- 
cles, lost. I realized that the place was just 
gone, the square closed up in walls, the 
fucking bulldozers resting after they de- 
voured three of the four buildings, includ- 
ing my old place. The last one was waiting 
to go clown — admittedly, a screaming breach 
of safety codes. I guess it had to go, but I 
don't have to be happy about it. I don't have 
to stop using it as a model for my life, for the 
future. That's how I feel about a lot of things. 
News, Grievances 
At the Mordam convention this year, 
the era of the verbal punk business agree- 
ment, based (with remarkable longevity) on 
a basic trust and common understanding of 
terms, passed away without a grunt in late 
September. The reason: a handful of labels, 
all with long-standing exclusive deals with 
their distributor, signed contracts allowing, 
to varying degrees, their music to be down- 
loaded off the net by internet music compa- 
nies. These are owned, to the best of my 
knowledge, by large investing firms. There 
is an ambiguity in these adolescent (pimply, 
lusty) days of net music distribution. Sever- 
al of these labels, with relative innocence, 
apparently mistook their fresh new align- 
ments to be purely promotional, while oth- 
ers — the culprits are unsurprising — clearly 
did not. 

With urgency and a justified sense of 
betrayal to the famous Mordam family ide- 
al, Ruth and company took simultaneous 
steps — first to travel the ethically and finan- 
cially murky paths of net distribution to 
provide their labels (and zines, sort of) with 
equal access on the net, and second, to make 
perfectly clear that Mordam's relationship 
with its "children" (a little ironic, in MRR^s 
case) is binding in all formats, tangible or 

Also (and these quotes are approxi- 
mated, but not distorted): "I see it more as a 
different type of space, like a foreign territo- 
ry, not a different format" (that's Jello— an 
interesting idea, by the way — illustrative of 
the amorphous nature of this shit, but awk- 
ward practically) and "We're gonna need, 
like, a massive advertising bash" (that's 
Kozik) and "Wow, all these people are offer- 
ing me money, and sometimes I wonder if I 
should just take it and run" (that's Jade 
Tree) aren't quotes that will be posted on the 
warehouse wall at Mordam any time soon. 
So.. .all of Mordam's releases are cur- 
rently available through their new website 
( wholesale, and 
according to their plan, will soon be avail- 
able retail as well, though there is some 
debate as to how this wilfaffect mail order 
sales for labels. 

The deeper tones of this are important 
to everyone who is concerned with buying 
punk music relatively easily, and in an eth- 
ical fashion. How corrupted an industry it 
becomes lies, at least for now, in our hands. 
It promises to be an interesting time. 
Contact me at 

"Of course it's an all ages show," I 
explain to Bill, our driver, merch guy, videog- 
rapher, and all around trouble-shooter for 
the evening's show in Toronto, "how else 
are we going to be able to hit on 16 year 

"Hey," says Michael, our drummer of 
Furious George, "don't include me in your 
'we' when you are talking about stuff like 
that. I mean, maybe you and Steve...." 

"Steve?" asks Bill as he drives his mini- 
van through the Holland Tunnel, with 
Michael next to him in the front passenger 
seat. I, of course, am laying down in the very 
back of the vehicle. My spot. 

"He's our new bassist," I yell to Bill 
over his blaring car stereo, "the one we are 
picking up at the rest stop. Where his father 
is dropping him off." 

How old is he again?" Michael asks. 

"18," I reply. 

"That's kinda young," says Bill as he 
struggles to read the road signs that will 
point him to the Jersey Turnpike. Bill is 
legally blind. 

"Old enough to play the punk rock," I 
explain to Bill, "plus he'll obey." 

"Uh huh, says Bill as he makes a 
quick right, then left, then right, all within 
two seconds. 

"Really," I say, "plus he's damn good 

"Yeah," says Michael, "you're just say- 
ing that because he looks exactly like you." 

"No he doesn't," I protest. But five 
minutes later, I am proven wrong. 

We arrive at some restaurant parking 
lot right off the highway and are immediate- 
ly greeted by Steve and his Dad. Steve is 
dressed in a black denim jacket, black wom- 
en's stretch jeans, a black t-shirt, and has 
bleached blonde hair. 

"He's your fucking twin," says Bill 
after shaking Steve's and his father's hand. 

"No he's not," I say as I stare at my 
doppleganger, "he's at least two inches 
shorter than me." 

"He looks the same size to me," says 

"It's because I slouch," I tell my dopey 

"Uh huh," he replies. 

I then explain to Steve's father that the 
trip to Toronto shouldn't take more than 
eight hours, and that we'll have his son back 
the following afternoon. Or early evening, 
at the latest. 

"So you'll take good care of my son," 
he says to me. 

I smile, tell him I will, and promise not 
to deliver him home in a shopping cart, 

Steve's father thanks me and gives us 
all a box of Duncan Donuts. 

As we pull away in Bill's mini-van, he 
waves to us and tells us to have fun. 

Five minutes later Steve tells us it's a 
good thing the gig was that evening, and not 
during the past week. 

"Why?" asks Michael. 

"Because I was grounded," he says. 



As we make our way to the great white 
north with our new bass player and blind 
driver, Michael and I discuss the direction 
of the band. 

"I think we should tour more, and 
record a new album," he says. 

"Yeah! " exclaims Steve, from the mid- 
dle bench he has all to himself in the mini- 
van, "That sounds great. How about it, 

1 tell them both it sounds like fun, but 
we gotta start making more money. That 
this punk rock stuff is making me broke. 
That the show we were to play in Toronto 
that evening will cost me about as much as 
the phone bills I have just from calling and 
confirming the show. 

"Well, you didn't have to call him 
every two seconds," explains Bill. 

"I did if we wanted that free hotel 
room," I say. 

"Well then it's not really free, is it?" 
says Michael. 


About an hour later I wake up from a 
small nap with drool hanging from my lip. 
And a small pool of saliva near my head, on 
my guitar case. I awake because of the yell- 
ing going on in the front of the van. 

"He did what?" yells Michael, laugh- 
ing his ass off. 

"Her," says Bill, "that night." 

"Who did who?" I manage to ask, 
spitting all over the place. 

"Dude," says Steve, "you just got me 
all wet." 

I ignore the youngster, and again ask 
Michaeland Bill who they are talking about. 

"Some chick fucked the bassist for Bor- 
ough Kore, and right before that, she blew 
some guy for two six packs of beer," ex- 
plained Bill. 

"Wow," says Steve. 

"Geez," I say, "I'd have only offered 
her one pack." 

NoDody laughs. Except for Steve. 

I really begin to like the kid. 

As the ride progresses, we talk about 
Canada, and what a stupid country it really 
is. We bitch about how it is retarded that we 
will have to exchange our money, for theirs, 
which is worthless, and how all Canadians 
say "eh?" and "right?" all the time. 

We also talk about their women. And 
I say that at least girls in Canada are clean. 

"Last time I toured there," I explain, "I 
fucked this really hot chick who shaved 


"Even her mustache?" asks Michael. 

"Shut-up, pussy," I say to my drum- 

"Did she shave her clit?" asks Steve. 

I look at him, then at Michael. Michael 
looks at Steve, then at me. Steve looks at me, 
then at Michael. Michael looks at Bill, then 
back at me. Bill looks at the road signs, 
wondering what they say. 

"Dude," I start. 

"Don't tell him," says Michael. 

"Yeah," agrees Bill. 

"Tell me what?" asks Steve, confused. 

"Nothing," I say. 

Ya gotta love the kids. 

Eleven hours after telling Steve's dad 
that it would take us eight hours, we arrive 
at the Canada border. We got a bit lost near 
Buffalo, and almost resorted to asking Amish 
people for directions. But they looked scary 
in their little hats with their horse drawn 
carts. Plus, some of the kids wore little black 
capes with hoods, and looked like midget 
Grim Reapers. 

"Okay," I say to the band and Bill one 
last time, are all of you sure you didn't 
bring any drugs with you? Because if you 
did, toss them now." 

Michael and Steve tell me for the ump- 
teenth time that they have no drugs. That 
they ha ve their birth certificates and /or pass- 
ports, and that I'm being paranoid. 

Bill just tells me to snut-up. 

"Hi," says the cute Canadian guard 
lady at the Peace Bridge Border. 

"Hi," we all say back to her, smiling. 
She's really cute, has a pretty smile, and a 
nice rack hidden underneath her guard's 

"Where are you headed in Canada?" 
she asks us. 

Not "What is your purpose for going 
into our country." Not "Are you transport- 
ing drugs over the border to sell to our 
citizens." Not even "You look like a band, 
are you playing a gig?", in which we could 
have responded by saying we were record- 
ing a record, and even had the fake docu- 
ments faxed to us to prove it. No. We were 
asked "Where are you headed in Canada?" 

"Toronto," explained Bill, frombehind 
the steering wheel. 

"Any alcohol or tobacco?" she asks. 

"Nope," says Bill and Michael in uni- 
son, as Steve, who is sitting right behind Bill 
with a cigarette in his mouth, shakes his 

"Well, then have a good time, eh?" she 
tells us, and with that, waves us in. 

We all look at each other in amaze- 

Two hours later we arrive in Toronto. 
As we pull off the QE2, or whatever their 
fucking highway is called, we are ap- 
proached by a large gang of punk rockers. 

"Squeegee Punks," Bill says. 

"What?" I yell, as they converge on the 


"Squeegee Punks," he repeats, 
"They're gonna wash our windows. 

"Bullshit," I say, as I watch guys and 
girls approach us and a bunch of other cars 
that just got off the highway. Some have 
mohawks, some long hair. Some are bald, 
and all are wearing t-shirts that have band 
names like "Crass or "Blanks 77" on them. 

"Drive away, fast!" I yell to Bill, 
"They're gonna rob us!" 

"I know," replies Bill, "they do a shitty 
job on the windows, and expect good mon- 

Sure enough, two seconds later a cou- 
ple of punk rockers pull out squeegees and 
Duckets, and start to wash Bills window. 
Even though it's raining outside. 

"What the fuck is this?" yells Michael. 

"I thought only homeless people did 
this," adds Steve. 

"They're punk rockers!" I say. 

Twenty seconds later some punk rock 
girl is banging on Michael's window. 

"What's she want?" he asks Bill. 

"A tip," Bill replies, bored. 

"Give her a fucking Furious George 
sticker," I say. 

"I wouldn't do that," warns Bill. 

"Fucking squatter with underarm 
hair, give her a damn sticker," I repeat, and 
hand one to Michael. 

He rolls down the window, and in 
lieu of a tip, gives her the sticker with our 
name and little monkey on it. 

She just look? at it, then us. Then she 
starts to say something. In French. And 
English. We can only make out the words 
"Fuck You", but we think we get the gener- 
al idea. 

So every time after that, when a Squee- 
gee Punk approached us and did our win- 
dows, we gave them stickers. Just to build 
up our fan base. 

We arrive at The Grange Hotel about 
twenty minutes later. The place looks like a 
housing project in the South Bronx, but our 
room does have a couple of small beds, and 
a bathroom, so we're happy. 

As we change and dress in our hotel 
room paid for by the club, El Mocambo, Bill 
explains to us that the Squeegee Punks are 
mostly from Montreal. That they moved to 
Toronto to squat and beg, and that they 
make more money here then in their native 

"Damn immigrants," I mutter. 

After my third shower of the day I 
ready myself for the gig. I spray on fifty 
squirts of Jovan Musk For Men, and watch 
in amazement as Steve does the same thing. 
With his own bottle. Of Jovan Musk For 

"Jesus," says Michael, "not only do 
you two look exactly alike, you fucking 
smell the same." 

I ask Steve why he wears Jovan Musk 
For Men, expecting him to tell me because 
I do, but he stuns me. 

"My ex-girlfriend got me hooked on 
it years ago, so I've been using it ever 

I remember my ex-girlfriend hooking 
me on the stuff and wonder if maybe I was 
looking at a clone. 

When it comes time to shave, I find 
that Michael is in the shower, and there is 
no mirror in the bedroom, although, there 

Steve, but I think I'll call him Mini-Me!" 
It's the only time the audience laughs. 
Because the next thing I tell them is 
that they don't even live in a real country, 
that their money looks like it belongs in 
Monopoly, and if it was World War Two, 

is a sink. So I wet my face, and cover it with and the Nazis invaded North America, the 
shaving cream. I then have Steve stand in Canadians would have their hands up in 
front ofme, and mimic my movements as I the air faster than the Italians. 

remove my eight o'clock shadow. Steve's 
hand jumps quickly at one point and I cut 
myself. Damn clone. 

Finally, we make our way to the show. 

We arrive at The El Mocambo about 
six Furious George stickers later, and the 
window is still smudgy. 

As we make our way inside we meet 
the booker guy, Dan. He's the one who I 
bugged andbugged to get us a hotel room, 
money, and free drinks. He's younger than 
I expected him to be, what with his gruff 
voice and all, but he does say "eh?" and 
"right" to punctuate a lot of his sentences, 
making him sound real Canadian. 

"So George," Dan says to me as he 
shakes my hand, "you look a lot shorter 
than I thought you would be, eh?' 

Suddenly it begins to rain beer. 

I then explain that we were surprised 
that when we got to the Canadian border, 
people's heads weren't split in half, hori- 
zontally, like the heads of Terrance and 
Philip in South Park. 

The bottles start. 

"Fuck you," yells Steve to the country 
of hockey and beer. 

I like the kid. 

"Listen you little pussies, " I say, "The 
only reason your country exists is because 
The United States Of America let's you." 

The spit starts. In large gobs. 

Then some kid grabs my mic and 
starts yelling. 

'Fuck you, you American Pig," he 
screams, "we Canadians burnt down the 

I explain that I'm not short, that I just White House in 1812, right? 


"Your twin brother seems to be exact- 
ly your height, right?" he says pointing at 
Steve and laughing. 

I make my way inside and get a drink. 

Which white house?" Michael shoots 

The kid, pissed, tries to hit me. I kick 
him away. 

Don't any of you try to hit us," I yell 

The band on-stage has a girl singing, at them, "We're from America. We'll bomb 
and they are pretty punk rock. We're next, you " 

Eventually they cease playing and we 
take the stage, and their equipment. 

"What are you doing, eh?" asks the 
drummer as Michael sits down behind the 
guy's kit 

"We're using your amps and shit," I 
say to the guy, "Dan said it was okay." 

"He didn't ask us, eh?" says the guy 
who owns the amp I am plugging into. 

"Fuck," I mutter. 

"What makes you guys think that 
you can just come on-stage and use our 

stuff, right?" asks the bass player of the best set since our riot in Berkeley. I smile 
band as Steve begins to tune up with the 

We then start our next song, but can 
hardly be heard over the roar of the crowd 
cursing us out. 

"Fuck you, right?" they scream. 

"Bloody Americans, eh?" they yell. 

And more and more bottles and cans 
are thrown at us. Some of them full. 

Finally we finish up the set with The 
Village People's "Macho Man", explaining 
that it is a REAL American song, written by 
REAL American men. 

Afterwards, Bill tells me it was our 

guy s tuner. 

"We're Americans," I reply. 

"Okay then, right?" says the drum- 
mer, and with that, we have a back line. 

We begin our set by telling the crowd 
that it's great to be here in Montreal and 

After about four or five fanzine and 
radio interviews, in which the interviewers 
try to beat up on me or no reason, we make 
our way to a local "punk rock" bar. 

Once there, we order lots of rounds 
and I find myself playing a video game 

that we are glad that the squatters here at where you have to piece together naked 

least have jobs compared to those in New 

They boo at us. 

We then play a couple of songs, fol- 
lowed by some more chitter-chatter. 

"Ya know," I say to the crowd, "I can 
really tell we're in a foreign country now. 
Instead of signs being in English and Span- 
ish, they're in English and French!" 

Of course we are booed again. 

We then play a few more songs, add- 
ing "right?" and "eh" to the end of each 
sentence. Steve does a great job playing, 

ladies. Suddenly I am offered help from 
two beautiful Canadian women. I can tell 
they are Canadian because they shave their 
underarms, and say "eh?" and "right?". 

As we play the game, this one girl, 
Giselle, or Jizz, for short, tells me she thinks 
I'm real cute. 

I blush. 

She then tells me that she thinks the 
girls on the video screen are cuter. And that 
the one with the shaved pussy really turns 
her on. 

Hey Mini-Me," I yell to my bass 

and when it comes time to introduce the player, who is engaged in a rather heavy 
band I say, "This is our new bass player, conversation with a nicely busted Great 

White Northern Female, "this girl here, 
Jizz, likes 'em shaved." 

"Really?" he says, "she likes shaved 

Jizz looks at me. 

"He's a kid," I explain to her. 

She nods her head, understanding. 

Two hours later we find ourselves 
breaking into an elementary school swim- 
ming pool with about twenty Canadians. 
The next thing we knew, most of them were 
taking off their clothes and going for a 3 
a.m. swim. Jizz stripped down to only her 
underwear, and I saw a set of headlights on 
her that could have been seen from New 

Eventually Steve, Michael, Bill and I 
found ourselves in our underwear as well, 
swimming around in some cold ass water. 
I asked Jizz to swim near me, so I could feel 
her flotation devices, but no such luck. She 
informed me that she was "into girls" these 

Later, as we dried off with our t- 
shirts, we were faced with the dilemma of 
putting on our jeans over our wet under- 
wear. I came up with the idea of taking our 
underwear completely off, and only wear- 
ing our jeans, thereby keeping dry. We 
changed by the bushes, and when we 
walked back toward the pool, the guys in 
the pool saw us in our jeans, and asked if 
we were "riding bareback". 

It was then that I realized why there 
are so few Canadians in Canada. It's hard 
to procreate with members of the same sex. 

After everyone got dressed, and Bill 
and I got to watch Jizz take off her under- 
wear and ask us if her bush excited us, most 
of us made our way to a place called "Speak- 
ers' Corner". 

Speakers' Corner is this, well, corner. 
A corner of a building. In downtown Tor- 
onto. It's this big booth thing where you go 
in and insert a Canadian dollar. Which is, in 
reality, about sixty cents. 

Anyway, after you insert the money, 
a light flashes on and tells you to speak. 
Basically, it's an automatic video camera 
thing. You speak your mind, and if the 
people who watch all the videos which are 
about a minute long, like you, they run you 
on Canadian National Television. On the 
way to the place, Jizz told us she was on 
when she was 12. Others told us they were 
on as well. 

So Michael walks into Speakers' Cor- 
ner, inserts his sixty cents, and starts to yell 
that America rules, and Canada sucks. Then 
he gets so excited he flashes the damn 

Mini-Me and I, of course can notstand 
idly by. We walk into the booth with Micha- 
el, flash our dicks, and yell how Furious 
George rules and God Bless America, and 
fuck Canada and their sissy accents and 
money. By the time the minute's up, we've 
used every curse and swear word we know. 

Upon exiting the booth we ask Jizz 
with a snicker if she thinks they'll run THAT 
on Canadian television. 

"Probably," she says, "they'll just 
bleep out some of the words, eh?' 

The next morning we awake at The 
Grange Hotel, most of us very hung-over. I 
remember leaving Speakers Corner, buy- 
ing beer and bologna, and throwing the 
latter out the window like Frisbees at the 
Squeegee Punks. 

As I yawn and stretch in the comfort- 
able hotel bed, I feel something really soft 
and round next to me. Actually, two things 
really soft and round. Attached to a wom- 
an's body. I look over and see Jizz, in Bill's 
underwear, fast asleep. It was then I re- 
membered I'd slept with a lesbian. A Cana- 
dian lesbian. Which, I guess, is repetitive. 

And I do mean "slept". What else 
could I do? 

An hour later we found ourselves 
saying good-bye to our new friend with the 
sticky name and awesome boobs, and an 
hour and a half later we found ourselves on 
the QE2, or whatever the fuck it's called 
again, with over four hundred newly pur- 
chased over-the-counter codeine pills. 

As we arrived at the American bor- 
der, I again asked all the guys if they had 
their paperwork, and told them to say we 
had been recording a record if they ask 
about our guitars. I didn't mention drugs, 
because we had just purchased a shitload 
of them. 

"Hi," says the American Guard to 
Bill, as we pull up to the border, "how's it 

"Fine," Bill replies, squinting, and try- 
ing to read the signs up ahead that will 
point us in the right direction of the city. 

"Are you all American Citizens?' he 

' "Yup," Bill says. 

"Why were you in Canada?" he asks. 

"Trying to record a record," Bill ex- 

"What happened?" asked the guard. 

"They were way too expensive, had 
no sense of humor, and were really stu- 
pid," I said to the guard from the back seat. 

"Fucking Canadians," says the guard, 
and with that, waves us back into our own 

Take My Life, Please. 

1. Canada is actually very cool. Everyone 
up there was really nice, and we hope to 
tour there again real soon. Actually, I don't 
think I've enjoyed playing a show as much 
as I did in Toronto. You guys up there rule, 
eh? Right? 

2. You can write to us by going to our 
website at Also, 
there are pictures from this trip up on the 
site! You can actually see Mini-Me! 

3. The Dykenamic Dou & The Boy Won- 
ders are a new band from PA and else- 
where in the midwest. Great great songs, 
fun, fun fun! Safety Pin In My Snatch! Yeah, 

4. Other great bands I've listened to lately 
include The Stuntmen, Starr, The Misfits, 

Sex Offenders, New F.Y.P. stuff, Pure Rub- 
bish, Useless I.D., Cleveland Bound Death 
Sentence, etc. 

5. 1 saw Useless I.D. here in NY. They are 
from Isreal and they rule! Yeah, Falafal 
Core! Punk Oi Vey Rock! 
6. Finally, umm, I haven't said this in a 
while, so.. .Fuck you, I'm from New York, I 
got big sneakers, ladies stretch jeans, and 
U.S. Pins on my leather jacket. How's that? 

One hazard of being clinically de- 
pressed is that I go hermit. I can't sleep, 
motivate to eat and I always get this Marion 
Crane desire to anonymously hit the road 
for destinations unknown (although her 
runaway was untimely cut short) . I'm numb 
and lethargic and don't have much to say 
during lows like this. So this will be quick, 
before I lose all interest. 

The following is a brief list of some 
favorite lines delivered me by devoted men 
of our hardcore scene, with somebrief notes. 
You'll catch my drift. 

1. "Shut up! You're Kathleen Hanna!" 

2. "You're acting like the woman from 
Melrose Place." 

3. "I thought you were a groupie, for 
lack of better words." - this came from some- 
one roadying for some band. I'd introduced 
myself as a volunteer at ABC No Rio and 
asked him to to ask the band if they'd please 
come back to play again because I loved 

4. "I know why you have so many guy 
friends inbands-yourblonde hair and big..." 
-line finished with a gesture to my breasts. 

5. "Why are you booking them again- 
what, do you have a crush on them or some- 

Number five is my current favorite, 
although it doesn't get better than Kathleen 
Hanna as an insult. I was doing the booking 
at ABC along with one other person, male, 
who'd booked Black Dice for two shows 
two weeks in a row. There is an unwritten 
policy at ABC that allows bands to play only 
once every two months to avoid monopoli- 
zation. One day, a faraway band organizing 
their tour requested Black Dice to play for 
their NY date, and although it was only one 
month after their last gig, I caved in and 
hoped the exception couldbe made. It caused 
a big fight and was one of the (many) sup- 
posed reasons I was ejected from booking, 
although it was the other booker who d 
overkilled them two weeks in a row. When 
I went ahead and booked them for that 
following month, quote #5 was delivered to 

me by an active volunteer and someone I 
had always considered a friend. 

I laughed it off and discussed it with 
two trusted friends after the fact, because it 
bothered me so badly. I really regret not 
confronting it then, but unfortunately, at 
that time, I was heading out the door with 
two out-of-town friends who were my first 

Hopefully I can confront that person 
sometime, because it stings that I got the 
boot at a meeting (that I wasn't even present 
at to speak for myself or at least bear wit- 
ness), and one of the offenses posthumously 
brought to my attention was putting Black 
Dice on that show...when I was asked if I 
was booking them so often because I had a 
crush on them. Hey, why else would a silly 
girl do booking? No one asked the male 
booker that when he put them on two weeks 
in a row, though. 

I guess I didn't hoot then because I 
knew why I booked them- because I think 
they rock live...isn't that a good enough 
reason? I was the booker-but I guess being 
assumed the het girl in said position means, 
well whatever. It wasn't valid then and I'm 
not going to pretend otherwise here. I'm 

Heck, maybe I really am just a groupie 
for lack of better words, eh? Sounds correct 
from this view. 

This community looks great in zines 
like this or when you pay your five dollars 
at the door, seeing nothing else behind the 
scenes (pun intended, why not) but bands 
and rants. But when I get told things like the 
ones on this abbreviated list, I reel like I 
know the real deal. 

I'd be better off to back off. It's not 
convenient to act like Kathleen Hanna or the 
woman (aka bitch) from Melrose Place-this 
doesn't rhyme with the favored anthem. I 
don't want to talk about the trends of com- 
munity, equality and every other record 
slogan. I hear what's being said like it's 
being crammed down my throat. It's just 
not what I see or how it feels. I don't believe 
it anymore; I just can't help it. 

I feel like if I would wear turtle necks 
and duct tape lipstick, I'd have more friends 
than antagonizers. 

A few years ago, I was very tired of the 
ladies' magazines only explorations being 
how to lose ten pounds this weekend, how 
to make him want you and which lip balm 
provides better protection. Around me, I 
observed the girls at school who needed to 
get laid because everybody else was or be- 
cause it was the only way to keep a guy's 
attention and while they would later lose 
days or graduation altogether to either give 
birth or have abortions, I figured I should 
keep reading and graduate. Ididn't want to 
drink or get high with them, after hearing of 
too many stories of them being "taken ad- 
vantage of" while passed out at a party. To 
me, it all made these young women look like 
props. There to be pretty and easy on a 
stranger's arm. I needed to bemy own wom- 
an. It was my only defense! Enter the world 

clique of punk rock, and I felt like I'd found 
a place to be safe. 

That was when I was in my teens; I'll 
be 23 this weekend. Suddenly again I feel 
trampled under this high school gun, un- 
clear on my only defense as an individual 
human being, alias woman. I sit now and 
observe the assumptions made of this being 
and for the first time in years, I feel power- 
less. I'm tired of fighting to change their 
minds of an opinion that only I own, yet I 

It's way off the subject, but at my last 
job, a male manager shoved me around his 
office, holding me tight by the arm. When I 
struggled free and told him to keep his 
hands off of me, he only did it again in an 
attempt to shove me out of the office (I never 
refused to leave in the first place; I would 
have, if asked and not grabbed and pushed) . 
I cried my eyes out over the violation be- 
cause it shocked me and I bet you he 
wouldn't have pushed me around if i was a 
big guy, or a guy period. 

A 19 year old co-worker comforted me 
with a story about another manager there 
who had not only personally given her a 
photograph of his penis but grabbed her 
hand once and placed it on his crotch while 
she sat in the office handing her money in. 

I screamed at her and demanded to 
know why she never reported this to th_- 
corporate office. She explained because an 
uncle had molested her as a child and a 
friend later tried to rape her at 13. She said 
that when she cried both times for help to 
her parents, they wouldn't believe her. She 
said that she assumed if her parents wouldn't 
help her, why should anyone else believe 
her? Who cares what all the she saids are 
anyway? When I quit that job a week later, 
neither of my managers said good bye to me 
or even good night, why not, after their 
initial response to my claim of physical ha- 
rassment was that it was my word against 

Sometimes (most, as of late) my life 
and separate reality as a woman is always 
my word against his or yours. I can't stand 

I wish I could get up and go away! I'll 
take it all back in return for the dignity of my 
only defense of this body. The troy's club 
could be at work or the matinee. Either way 
keep them all; I'm not fighting today. 

Sounds so dramatic, but you know 
me. I just can't stand having to justify every- 
thing. Why must I justify myself 'for booking 
a band, liking the music, having male friends, 
speaking my mind, anything! I can't do 
anything without justification from a terri- 
fied guy. I really hate myself for it. 

" You are not what you own"-from an 
influential band whose name I won't 
say. ...thanks for the support. I'll be in the 
back if you need some justification, a door- 
mat, someone to complain about your ex 
girlfriend to, to compare your ex girlfriend 
to, to blame your insecurities on, to ask how 
you spell mysogyny, to say yeah yr band 
was kool, etc, etc, etc. 

Is this really more than music? 

It was ten years ago this year that I first 
bought the Verbal Assault 7" with the song 
"More Than Music" on it. And although 
when I was listening to it earlier today I 
practically shuddered at the sound of the 
songs on that record (tastes change), when I 
first bought that record, it unlocked a pas- 
sion inside and let the fire spread to all parts 
of my life. Coming to terms with anger and 
resentment towards the world was the first 
part to my introduction to punk rock. But up 
until then, there was something unrefined 
stewing inside. Something that I couldn't 
indentify, but something latent and very 
much present. An undiscovered passion for 
establishing my own stability and indepen- 
dence in a world that was, and still is, set on 
ignoring anyone outside of the status quo. 
Like Dan Yemin from Kid Dynamite said in 
the interview that ran in Maximum: "I heard 
this crazy shit for the first time and was like, 
"Wow... You know, it's like being from an- 
other planet and then you find someone that 
speaks the same language as you." From the 
moment that I put the two pieces of the 
puzzle together, to see the bigger picture 
about why I was drawn to this underground 
scene, I would never be the same again. 

But it's been a decade and I've seen 
people and scenes change. I've moved and 
developed. I've been in love, and I've been 
suicidal. But the thing that kept the personal 
revolution intact was the fact that I was 
drawn to this for so many more reasons than 
just music. There is so much more. 

My girlfriend and I were walking 
around San Francisco one day recently, en- 
joying the warm summer sunshine and ex- 
ploring this incredible city. Usually, like 
many people that live here, neither of us can 
find the time to really explore and learn 
about our city and communities. We "dis- 
covered" this great museum tucked away at 
the top of this hill overlooking the Castro 
and virtually most of the southern half of 
San Francisco. I believe it was called the 
Randall Museum. This place was amazing. 
It's a lot less like a "museum" and more like 
a hands-on learning center for kids, but free 
and open to public. Not only do they have 
exhibits and things, but they also have a 
small petting zoo and lots of animals to look 
at, that live at the museum ! We poked around 
and "ooed" and ahhed" at all the neat stuff, 
but the most exciting part was right before 
we left. There was this punk boy working 
there, most likely a volunteer. He was prob- 

ably in his late 20s, maybe early 30s. He was 
so into what he was doing, working with the 
animals, and probably usually working with 
kids. It made me so excited for him and for 
the museum, to realize that there were people 
out there that did not give up the fight, did 
not give in to the status quo, but instead 
transformed that feeling of disenfranchise- 
ment into a passion and excitement about 
things, in an attempt to set new standards 
and beliefs gradually in a stubborn and 
often uncompromising world. 

I think sometimes we expect too much 
from this world, or at least in Western cul- 
ture. We often give people too much credit, 

assuming that they will unlock those same 
passions to move forward, but with also 
that same sense of rejecting what has failed 
in the past. It is constantly an uphill climb. 

It's funny to me though sometimes, 
when I remember all the times that people 
have told me that I wallow in misery or that 
I'm too jaded, and wonder what is it in me 
that they see. Is my fire out? Is that passion 
gone? I hope not, and I hope that I'm able to 
maintain a sense of individuality and re- 
sponsibility, and not get co-opted into an- 
other person who'd rather sit down in the 
middle of a storm. 

There is nothing more damaging that 

anyone can take away from you, than your 
sense of self and your dignity. Don t let 
them do so, and don't give up the fight. 
Because, hopefully, deep inside, this ismore 
than music to you. It's something that 
screams from the alleys and housing projects. 
Emanating from trailer parks and suburban 
tract houses. Pulsing in your veins and mak- 
ing you more aware. This passion has noth- 
ing to do with "punk rock". That's just the 
medium for the message. You see it in the 
eyes of people across the country, and 
around the world. They are pushed out and 
angry and willing to make themselves avail- 
able for an alternative to self-righteousness 
and power-driven bigotry. 



Bright n 





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.some reports 

TERMENT with Jake. Jake, along with 
Brad, is in a reunited version of the pop 
punk group THE FENOGLIOS Cwho have 
great screamed vocals that remind me of 
Kathleen Hanna). GB, from THE 
FENOGLIOS, is the bass player for PUKE 
SHIT, who have a pop punk sound teamed 
with crusty vocals. Confused yet? Need- 
less to say, our scene can be quite incestu- 
ous. Also in the pop punk and straight- 
forward punk vein are UPPY ALEX, PVK, 

far as I know, they've never set foot in a 
studio (though, I could be wrong). Michael 
Papa John of VINEGAR has recently joined 
up with Brian Green (of ex-SINN FEIN fame) 
highly energetic grind metal group with in- 
credible stop/start dynamics and two sing- 
ers (screamers). Then there's the grind 
sounds of CONQUEST OF PITY (fea- 
turing Mark of ex-URINAL CAKES and GB 

First of all, let me say that I was 
moved to write this scene report after 
reading Ryan Richardson's column in MRR 
#194, where he states that there aren't 
many punk bands in Fort Worth. We've got 
bands. The problem seems to reside in 
finding places to play and labels to put out 
the music. Aside from SLAVE ONE (a 
great metal group) and SUBOSLO (a 
great dub group), there are no local 
records. That's a shame, because there's 
an audience for them. 

As far as I can tell, most of the punk 
music that comes out of the area bears a 
strong metal influence. I'm not sure if this 
is because we're in the South (always a 
reliable source for metal) or because of 
everyone's adoration for local heroes, 
SLAVE ONE (the kings of the scene). 
Whatever the case, our shows are com- 
prised of either pop punk bands or crust/ 
grind/metal groups. Oddly enough, every- 
one gets along and both styles book shows 

I guess we'll start with the pop punk 
and related styled bands. The most infa- 
mous of these bands would be SHMUNKS 
4 U, who have appeared on a local comp 
featuring the likes of APB and ED BANKY'S 
CAR. Brad, from SHMUNKS, recently 
formed an FYP-styled group called GUT- 


(the now defunct) UNKLE IMP. 

As far as heavier/faster music goes, 
the biggest group here is SLAVE ONE, who 
have played shows with the likes of NOOT- 
released two 7"s and a CD. VINEGAR is 
also big. They're a great crust punk group 
that's stuck it out for nearly 7 years now. As 

though they're more metal than punk, 
there's also HARQ-AL ADA HARQ-AL- 
ADA have recently found a new singer in 
Josh Brown, the guy who did vocals for the 
now broken up RECAL CITRANT. RE- 
CALCITRANT were myfavorite local group. 
Their songs were short, crusty, and politi- 
cal. They sounded like ANAL CUNT (minus 
the homophobia). Oh yeah, we've got an 
emo band called QUIET EARTH, too, 

On to the venues. In my opinion, the 
best place to see a show was at Odd- 
balls. Unfortunately, it was way out in the 
middle of nowhere. As a result, it recently 
closed down. Now, we've got Coogan's, 
The Ridglea Theater, and Abraca- 
dabra's (a skinhead hangout). Speaking 
of Abracadabra's, I refuse to go to shows 
there. There are too many PANTERA-lov- 
ing jocks and metal heads hanging around. 
Plus, they have a big screen TV that's set 
to MTV. Every other place to play seems to 
be out in Dallas. 

Well, that's about it. We're not too 
strong on zines, though we do have one 
called Civil Disobedience that's pretty 
good. If you want to contact me, write to 
Matt Keefer at 45 1 7 Meadowbrook in Fort 
Worth, TX 76103. And, as always, if you 
have a problem with anything written here, 
get out a pen and paper and write your own 
report. Thanks. 

So, we are in an era, perhaps 
the tail end, where almost 
every punk band from 
"back in the day" has re- 
formed — putting out reis- 
sues, and doing reunion 
shows. Punk, at least tem- 
porarily, sells. Not that 
there is anything wrong 
with getting back together — 
some cases are better than 
others, however. Unfortu- 
nately, for the most part, 
these reunions tend to fail 
for many reasons. Perhaps 
the biggest contributing fac- 
tor is that these "reunions" 
usually consist of only one or 
two of the original members. A 

band that can not fit into the reunited category is 
the Dictators. Not yesterday's heroes, but the next 
big thing! I find it refreshing that the Dictators have 
not tried to sell themselves as the godfathers of punk, 
coming back to take their rightful place, under this 
crest of punk rock revival- ism. In fact, 

the Dictators cannot get back 
together, because they have 
never broken up! Nor do 
they believe in reunion 
shows — the whole idea of 
reunions and such is the ex- 
act pompous lameness they 
deliberately keep out of the 
band — that Spinal Tap 
cheese. They play when 
they are together and 
don't when they are not. 

The Dictators story 
goes back to 1971. Then, 
Andy Shernoff attended 
college in a the hippie 
town of New Paltz. While 
in school he was in a few bands 
and ran a fanzine called Teenage Wasteland Gazette, 
he also wrote for Creem. Ross (the boss) Punicello 
was in a band called Total Crudd, that lived and re- 
hearsed in a house in Highland, New York. The house 
was known as the "The Out Of It House", because 
everyone got so fucked up. At the house, there would 
be a lot of wild parties. This is where Andy and Ross 
would hang out. Also hanging around were Scott (Top 

Ten) Kempner and Richard 
Blum (Handsome Dick). The 
four developed a friendship 
and would play music togeth- 
er, using Total Crud's drum- 
mer. In the beginning of 
1973, the four moved into 
a house together, picking up 
Billy Sheehan to play 
drums. Andy played bass 
and sang, Scott played gui- 
tar, Ross the Boss was the 
guitar hero, and Richard 
was there. Through Rich- 
ard Meltzer (a friend of 
Andy's) the band, now the 
Dictators, met the manag- 
ers of Blue Oyster Cult. A few drum- 
mers later they record their first demo with Stu Boy 
King on drums. Drummers tended to come in and 
out the Dictators for the last twenty-six years. Their 
first show was with Iggy Pop!!! Iggy Pop!! Now that's 
all right. The Dictators were carving out their place 
in rock and roll, void of pompous artsiness. The Dic- 
tators brought a sense of humor and danger back to 
rock and roll. They were living the life. The band 
played together and lived togeth- 
er — it was full time and it was 

The Dictators become complete 
in Sheepshead Bay, Brooklyn, 
(where I come from). In a derelict 
bar called Popeyes, on March 29, 
1 974, after being coaxed by Andy, 
Richard Blum takes the stage and 
sings "Wild Thing" with the band. 
Up until this point, Richard was just 
a buddy hanging around, and a 
roadie fucking up equipment, but 
when he took the stage that fateful 
night, Handsome Dick Manitoba was 
born!! The crowd went crazy. Dick 
was a madman — he sported a hid- 
eous giant afro, met with some mi- 
nor fame as a wrestler and is indeed the handsom- 
nest man in rock and roll. Dick continues singing 
with the band, but not as an official member. So 
impressed with Dick's performances, Epic Records 
offered to sign the Dictators to a recording contract, 
with the condition that Handsome Dick become the 
permanent front man. So it came to pass, and before 

1974 was over, "The Dictators Go Girl Crazy" was 
recorded. Of course Epic did not know how to handle 
an act like the Dictators — they were not a "safe" rock 
and roll band. The record took several months to be 
released, and Epic did not put any support into it. 
The record failed by the record industry standards, 
bur remains today one of the best rock and roll records 
ever. Definitely do yourself a favor and find this 
somewhere. Perhaps if this record came out after 
the Sex Pistols, it would have done better, but then- 
who knows whether the Sex Pistols would have come 
out at all? The Dictators second album, "Manifest 
Destiny," was not as good, Andy went to keyboards, 
the music was heavier, more produced and more se- 
rious. Lots more member changing, two more 
records and a variety side 
projects followed. 

Throughout the years, 
The Dictators played on and 
off togetherm as well as 
doing their many side 
projects. Today, the Dicta- 
tors are Handsome Dick 
Manitoba on vocals, Ross the 
Boss on guitar, Andy Sher- 
noff on bass and vocals, Scott 
Kempner on guitar and JP 
Patterson on drums and vo- 
cals. I find it most impressive 
that 4/5 of the band are orig- 
inal members and stayed 
friends for so long. The Dicta- 
tors are still playing today. Do 
yourself a favor and catch 
them live. The Dictators are the 
next big thing! 


•The Dictators Go Girl Crazy LP (Epic, 1975) 

•Manifest Destiny LP(Asylum, 1977) 

•Bloodbrothers LP (Asylum, 1 978) 

•Puck 'Em If They Can't Take A Joke Cass 

(Roir,1981) (also released on LP by the Dancet 

eria label out of France, and has recently been 

released on CD) 
•CBGB 1977 7" (bootleg) 
•I Am Right 7" (Norton, 1996) 
•Who Will Save Rock <n' Roll? 7" (Impossible, 1997- 

Norton, 1998) 

I had a chance to interview Andy Shernof f ! ! ! ! Here it 


MRR: So, Andy, is Handsome Dick Manitoba still the 
most handsome man in rock and roll? 
Andy: Take a look at those cheekbones and decide 
for yourself. 

MRR: I understand there's a new Dictators album 
coming out. When should we start searching the 
record stores? 

Andy: By the time you read this, all the recording 
should be done, so look for a release early next year. 
MRR: Will this be the definitive album, the one you 
always wanted to make, picking up right where "The 
Dictators Go Girl Crazy!" left off? 
Andy: I don't know what the definitive Dictators 
record is... I put together the best songs I have and 
I'll let the audience decide how definitive it is. 
MRR: Do you think that today's rock and roll cli- 
mate is more ready for the Dictators? 
Andy: To be honest, I'm ignoring today's musical 
climate and attempting to make a timeless rock and 

roll record. I've seen too many musical trends come 
and go over the last 20 years. I want people to be 
interested in the new Dictators record 20 years from 
now— just as you are interested in our first album, 
25 years after it was released. 
MRR: As someone who watched punk rock come in 
and out of style several times, how do you view things 
this time around? 

Andy: I think the Dictators are punk in the way that 
Elvis, Chuck Berry, Jerry Lee Lewis, The Rolling 
Stones, and The Who are punk. We don't have the 
classic punk sound associated with The Ramones or 
The Sex Pistols., but we have the attitude, the ener- 
gy and the power. I believe every great 

rock and roll band has a bit of 
punk in them. 

MRR: Does White Castle pro- 
vide the band with free burg- 
ers? And how come Handsome 
Dick is not the official spokes- 

Andy: We just wanna help the 
cause. We're more than hap- 
py to do all we can to sup- 
port and publicize White Cas- 
tle without compensation. 
MRR: Where can we see the 
band play, and are there any 
tours in the works? 
Andy: We'll be playing off 
and on before and after the 
release of the new CD. 
Check the websites for tour 
info ... The Dictators . com 
MRR: Can you tell us a story of the absolute worst 
experience you have had with the Dictators? 
Andy: Probably the time in 1 977 when we were picked 
up as terrorists in Germany. We were driving from 
Amsterdam to Berlin, a long overnight trip. There 
was this gang of communist terrorists called the 
Beider-Meinhof gang that were wreaking havoc in 
West Germany at the time and we fit the description. 
They followed us by helicopter, set up a roadblock, 
then surrounded us with 20 soldiers pointing ma- 
chine guns at our head, and we missing the gig. Visit for a full report. 
MRR: Can you give us any insight of the Dictators' 
first show with Iggy Pop? 

Andy: It was us, The Stooges, with the Blue Oyster 
Cult headling at Prince George Comm. College near 
Washington DC in the spring of 1974. The audience 
was there to see the Blue Oyster Cult. They ignored 
us and were shocked to downright hostile to The Stoog- 
es. This was before MTV, Nirvana, the Ramones or 
Sex Pistols. A different era in rock. It was my first 
time ever on stage. 

MRR: How did the Dictators manage to stay together 
for so many years? 
Andy: Lithium... 

MRR: Do you find the music as exciting today as it 
was in the early years? 

Andy: Of course not. When I was a kid, bands like 
The Beatles, The Stones, The Who, The Kinks, and a 
little later on The MC5 and The Stooges were con- 
stantly putting out cool vinyl and then there was 
amazing records from Motown and Stax-Volt. When 
I was starting out as a musician the bands playing 
every week in New York City were bands like The 
Ramones, The Dead Boys, The Heartbreakers, Blondie, 
The Talking Heads, Television, and Mink DeVille...I 
feel bad for the rock and roll fan today. 

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and earnestness of the lyrics keep this 
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Longest Squat in 
London is Over — 
121 Center is 

Six sheriff's bailiffs, assisted by a special 
armed police force, entered the 121 Center in 
Brixton's Railton Road shortly after 6:30am, suc- 
cessfully removing the seven remaining illegal residents. 

The center, which has drawn worldwide attention since residents barricaded themselves in to resist eviction more 
than seven months ago, was set up in 1981 as a collective. Lambeth council has attempted to evict them on a number 
of occasions, but until today its actions proved fruitless. At the last attempt, police were met by a demonstration of nearly 
70 protesters who blocked the road and set up barricades inside the building, which also acted as an advice center for 

squatters as well as a cafe, party venue and printing office. 
Occupants had organized a highly efficient campaign from in- 

t^^^^^^^ i side the three-story building with the use of a web site and news- 
T - "T| letter circulated among supporters, who included anarchists, hunt 

I I saboteurs and other radical issue campaigners. 

' An emergency siren and internal defenses with easy-to-as- 

semble barricades were also used to maintain occupancy. How- 
I ever, there was no sign of any resistance from the small group of 

I residents wakened this morning, and the building was vacated in 

I minutes. 

I Tom, a 22 year-old Norwegian squatter, said residents had be- 

come disillusioned with efforts to keep the center open since po- 
Jg^Uyl lice attempted their last eviction in February. "It was so aggres- 

sive and people just kind of gave up. But they won't be able to 
secure the building and people will try and enter it again." Tom 
says he will move to another London squat. He described today's 
raid: "They forced us out of the building. There seemed to be two 
groups and the first one came through the windows on the second 
floor. They did not even let us put our shoes on." 

The council said staff had prepared themselves for a fight, with 
more than 1 50 police officers standing by. It had, however, been a 
success, he added. "It was very successful, with everything hap- 
pening very swiftly." 

The bailiffs, with the specialist unit, entered the brightly-colored 
building through windows on the upper floors, Chief Inspector Mar- 
tin Bagg said. They met with no resistance, he added. 

Lambeth leader Jim Dickson, who was once the victim of an 
office raid when 30 protesters from the center stormed his council 
room, said: "We are systematically clearing up the borough and 
dealing with the legacy of the past. Our action today sends out a 
very clear message to the squatters - the council will keep taking 
action over squatted property until there is none left." However, 
Kuru, a 24-year-old squatter from Brazil, said: "What the police 
and the council are doing is just adding to the problem of 
homelessness in London. But they won't succeed in stopping us 
from squatting because we'll just go elsewhere." 

The building, whjch is being cleared of the occupants' belong- 
ings, will be auctioned. 

MaximumRockNRoll News 

PO Box 460760 

San Francisco, Ca 94146 

seansul @ 

"Purveyors of fine yellow journalism since 1982" 


Your one stop radical events 


EUROPE, TAMPERE 15-17/10/99 

From the beginning of July to the end of December, Fin- 
land will serve as president of the European Union. One cen- 
tral aim on this period is redefinition of EU's immigrant policies. 
For this reason there will be held a special European Council 
meeting (meeting of EU prime ministers and presidents) on im- 
migrant policies and internal security in Tampere, 15th-16th of 

We have decided to convene in Tampere from the 15th to 
1 7th of October to demand free movement in and to Europe for 
all; to demand, that the wealth produced by us is used to sup- 
port people's opportunity to move freely and the right to partici- 
pate in the wealth. 

Program: 15.10 Bus transportation to Tampere and ar- 
rival at the school. Workshops. 16.10 Press Conference, Demo- 
info and Demo at 15.00. In the evening a concert will be orga- 
nized. 17.10 Public meeting and departure from Tampere. 

November 30, 1999 

An International Day of Action 

Against the World Trade Organizationand 

Global Third Worldization 

An international day of action, resistance, and carnival 
against the global capitalist system will take place on NOVEM- 
BER 30th this year. This day coincides with the 3rd ministerial 
conference of the World Trade Organization (WTO) in Seattle, 
where officials from more than 150 governments around the 
world will decide on new policies that will further escalate the 
exploitation of our planet and its people by the global capitalist 



SEATTLE NOV. 29 - DEC. 3, 1999 



Here is some of what is planned and what you need to know 
to come to Seattle: 

RESIST THE WTO: ROADSHOW Art and Revolution 
Street Theater Troupe will join a multi-media, giant puppet 
and dance performance, teach-in tour of the Western U.S. 
and Canada from September 28 to October 18 (in Seattle 
October 5) to educate, agitate and organize against the 
World Trade Organization Summit. Cosponsored by Global 

planning for nine days of street theater, giant puppet, dance 
and music making/skill sharing/performing, nonviolent direct 
action trainings and affinity(action) group formations, commu- 
nity building fun, meetings to coordinate it all and prepare 
ourselves for the WTO, outreach and performance around 
Seattle, and more. Come early and help organize and 
prepare. Contact us or check the web site for more details. 


We are planning a large scale, well organized, high 
visibility action to SHUT DOWN the World Trade Organization 
on Tuesday November 30. The World Trade Organization no 
right to make undemocratic, unaccountable destructive 
decisions about our lives, our communities and the earth. We 
will nonviolently and creatively block them from meeting. 
Hundreds of people will risk arrest, reflecting the diversity of 
groups and communities impacted by the WTO and corporate 
globalization. We envision colorful and festive actions with 
large scale street theater as a major element. We will make 
space and encourage mutual respect for a variety of nonvio- 
lent action styles reflecting our different groups and commu- 
nities. The WTO Summit offers a historic opportunity to halt 
corporate globalization and to help catalyze a widespread 
mass movement in North America. Cosponsored by the 
Direct Action Network (Against Corporate Globalization), 
Earth First!(Seattle), Global Exchange and Rainforest Action 

make it happen. Join us! 
(206) 632-1656 <can@drizzle> < 
artandrevolution> c/o CAN, 4554 12th Ave. NE, Seattle, WA 
98105 San Francisco (415) 339-7801/ (510) 464-5921. 
Vancouver, BC (604) 254-3145 

5th Annual Bay Area Anarchist Bookfair 

15 April 2000 

Golden Gate Hall of Flowers 

9th Avenue @ Lincoln Way 

1 0:00am— 6:00pm 

More Info to Come 

Workers in Colombia, as in much of Latin America, have 
been hit hard by recession, with high unemployment and auster- 
ity programs. Under these conditions many joined in a national 
strike that began August 31, paralyzing some sectors of the 

The government of Andres Pastrana, which responded with 
an outpouring of police and troops, has meanwhile received 
Washington's assurance of more military aid, supposedly for it's 
"anti-drug programs". 

The strike, called by the main labor federations, halted 90% 
of public transportation in the cities and countryside. Schools were 
closed, and hospitals opened for emergency cases. Leaders of 
the Central Union of Workers (CUT), along with the Democratic 
General Confederation of Labor (CGTD) and the Confederation 

in January. 

Seeking a way out of economic crisis and to make the coun- 
try attractive to capitalist investors, Pastrana presented a tough 
austerity budget in July that Finance Minister Juan Camilo 
Restrepo has described as "draconian." The package, dubbed the 
Truth Budget, proposed cutting funding for state governments and 
pension funds, along with rigid anti-union labor laws. The budget 
projects cutting the fiscal deficit to 2.5% of gross domestic prod- 
uct (GDP) by next year instead of 5% at the start of this year. 
Pastana's government has requested $3 billion from the IMF in 
emergency funds. 
Washington Gives Military Aid To Pastana Government 

Meanwhile, retired U.S. General Barry McCaffery, the Clinton 
administrations "drug czar," paid a visit to Pastrana on July 26th 

Strikes Explode In Columbia 

of Colombian Workers (CTC) said the strike would continue until 
the negotiations with the government resumed. Members of the 
Colombian Teachers Federation (FECODE), state bank employ- 
ees, and workers of the Colombian Petroleum Enterprise 
(ECOPETROL) joined the work stoppage. 
Strikes Oppose Anti-Labor Laws, Austerity 

The major demands of the action include rejection of new 
anti-union laws, austerity measures, and the sell-off of state 
owned companies; calls for a moratorium of the foreign and do- 
mestic debt; and for agrarian reform. The new minister of labor 
responded that these demands were political and non-negotiable. 

Military and police forces took control of all highways and 
roads in the country. Several airplanes and a fleet of helicopters 
were deployed, along with special highway cops in full riot gear. 
Residents were banned from using motorcycles and carrying 

In Bogota, the capital city, 14,000 police were patrolling the 
city by the early hours. In working class neighborhoods south of 
Bogota, police tried to quell protest by throwing tear-gas at dem- 
onstrators, who responded with rocks. 'El Espectador' of Bogota 
reported 18 civilians and seven police were injured, and at least 
187 people were arrested. 

On the eve of the strike, 1,000 teachers in the state of 
Santander marched in the capital city, Bucaramanga, denounc- 
ing the government for yielding to the demands of the Interna- 
tional Monetary Fund (IMF) and the World Bank "to increase the 
country's debt and place the burden of it's payment on the work- 
ers and the people of Colombia." 

Peasants in Ipiales, near the border with Ecuador, blocked 
highways in protest for not receiving a response promised by the 
government in 1996 to their demands for land, supplies, easy 
credit, technical assistance, housing construction, education, 
health care, and recognition as indigenous peoples. 

Colombia, a country of 37 million people, has seen it's cur- 
rency, the peso, devalued twice in 10 months. Unemployment is 
19.5%, compared to 8% in 1994. The economy shrank 5.85% 
the first quarter of this year. Agriculture, in particular the export 
crop coffee, has been hurt by low prices and also an earthquake 

to assure the Colombian president $289 million for the Colom- 
bian police and military — a threefold increase — supposedly to 
fight drugs. The package includes six Blackhawk helicopters; arm- 
ing 34 Huey helicopters, some with high-power machine guns for 
long-distance firing; equipment for aerial fumigation of coca plan- 
tations; patrol boats; and other weapons and ammunition. Last 
year it was reported that U.S. special forces were training troops 
in Colombia. 

In addition to McCaffrey's visit, U.S. undersecretary of state 
Thomas Pickering met with Pastrana in August to pressure his 
government to move on with the necessary measures to restore 
"security and stability" in the country. 

Secretary of State Madeline Albright, in an op-ed column in 
the New York Times of August 1 0th, sought to justify deeper U.S. 
military involvement in the country, including the death of five U.S. 
troops and two Colombians in a plane crash during a "counter- 
narcotics mission" in July. "Colombia's problems extend beyond 
it's borders and have implications for regional security and stabil- 
ity," she wrote. "To turn the tide, President Pastrana... needs — 
and deserves — interna- 
tional support that focuses 
on more than drug interdic- 
tion and eradication." 

Peasants forced to 
grow coca to make a living 
and the capitalists who con- 
trol the drug trade aren't the 
only targets of the Colom- 
bian army. Bogota has re- 
cently intensified it's military 
and police actions against 
the Revolutionary Armed 
Forces of Colombia (FARC) 
and other anti-government 
guerrilla groups that have 
battled the Colombian army 
for years and decades. 

FCC Opens Doors to Greater 
Media Monopolization 

In a major relaxation of broadcast ownership rules, the Fed- 
eral Communications Commission has announced it will allow 
networks to own two TV stations in the same city. Previously, 
the FCC limited a network or other company to one television 
station per city. Under the new regulations announced August 5, 
a company can own two television stations in the same city, so 
long the city has at least seven other separately owned stations. 

The FCC's move creates an opportunity for dominant broad- 
casters to further expand their market share, and will likely spark 
a flurry of station sales, a point confirmed by industry executives 
and observers. "It's going to be a land rush to some degree," 
commented one executive (New York Times, 8/6/99). 

A land rush that is all but certain to be won by the biggest 
players in the increasingly concentrated broadcast industry. For 
example, since the Telecommunications Act of 1 996 was passed, 
over 4,000 commercial radio stations have been sold, and there 
have been over 1,000 radio company mergers. 

This decision stands in stark contrast to some of FCC Chair 
William Kennard's own statements regarding ownership and di- 
versity on the public airwaves. In a speech to the Radio-Televi- 
sion News Director Association annual convention last year (9/ 
25/98), Kennard said: "One concern I have is concentration of 
ownership. What if four group owners owned every television 
station in every major market in ten years? Would this have an 
effect on the quality of news coverage for the country? Of course 
it would." 

The new rules put forward by Kennard and the FCC last 
week open the door to the very type of media monopoly Kennard 
professed concern about less than a year ago. According to 
FAIR Program Director Janine Jackson, "there is no doubt that 
the FCC's decision to weaken TV ownership regulations sends 
the message that diversity of ownership is not a principle worth 
defending." Media historian and scholar Bob McChesney, au- 
thor of "Rich Media, Poor Democracy," agrees: "The FCC's loos- 
ening of the regulation of TV ownership rules will provide a fi- 
nancial windfall for a handful of billionaire station owners and 
media corporations; it will only encourage the ongoing corporate 
stranglehold on our media system, with its attendant commer- 
cial carpet bombing of our society." Such policies, McChesney 
says, "logically emerge from a policy environment where one 
has to be a billion dollar corporation to participate, where there 
is no popular press coverage of the deliberations, where self- 
serving and bogus corporate PR is treated like scientific inquiry, 
and where the public is consigned to its couch, required to ac- 
cept the dictates of an FCC in service to Wall Street as if these 
were the acts of God." 

It's Not Just You, Punker, 
Who is Angry on the Job 

Do you feel alone because you think that you are 
the only worker who feels angry? Probably not. Fortu- 
nately for those who do, the brilliance of science has 
finally compiled enough data to empirically state that 
you, in fact, are not alone.... 

CHICAGO — As many as one in four U.S. workers may 
be chronically angry on the job, with irate employees 
also more likely to be bored, have low energy and feel 
"stuck" in their posts, according to a report released 

Employees are most likely to be angered by a boss 
or supervisor, by a fellow employee or by others in the 
workplace who are not being productive, by tight dead- 
lines or heavy workloads, said Donald Gibson, a pro- 
fessor at the Yale School of Management. 

The findings, from a 1996 poll of 1,000 workers, 
were contained in a report Gibson released at a meet- 
ing of the Academy of Management in Chicago. "A tur- 
bulent economic environment that has produced, on the 
one hand, productivity and growth and, on the other, 
wrenching change and uncertainty, has buffeted the 
workplace," the report said. 

"While a majority of employees are responding to 
these conditions with reports of workplace satisfaction, 
there remains a substantial portion who are dissatis- 
fied, even angry, at work," it added. "Most visibly, anger 
is linked to workplace aggression, which appears to be 
increasing. We are weekly confronted with stories of 
workers taking aggressive, even violent, action particu- 
larly against supervisors." 

The survey found that 25% of those contacted said 
they were at least somewhat angry at work on a con- 
tinuing basis. 

The study did not speculate on what percentage 
of angry workers are likely to resort to violence. It did 
find that they feel less loyal to an employer. 

There have been a number of workplace shootings 
in the United States over the years, including recent ram- 
pages in Georgia and Alabama. 

OUT NOW on Yeah, It's Rock! 


Bell On Tour sept28di-Hov6tn icneckwemitei 
HAPPY STARS CD (out in November) 

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revolution unlimited? 

consuming unamerican activities 

Are we so blind that we support punk consumerism, no questions asked? 
I'm sure someone will make the comment about how punk is a consum- 
er movement, or that we live in a consumer system, and we can choose 
how and where our money goes. But to what end?. . .Isn't it really more 
punk to just buy your t-shirts from the Salvation Army, or make your 
own fuckin' stickers, or write on your own fuckin' coffee mugs? -Bean 

Bor fun and educational purposes, I sometimes read business 
literature. (I'm sick, it's true.) Capital has to reproduce itself 
somehow, and it seems like a good idea to keep up with the 
ideological apparatus that fuels it. Full of praise for innovative entre- 
preneurship and the "courage to be successful," cutting-edge market- 
ing and business engineers urge "thinking outside the box," "creating 
community among your consumers," and "believing in your product." 
This is capitalism (in a sneaky incarnation) re-cast as a romantic Uto- 
pia of dreamers, a public space of freedom, fellowship and unrestrained 

It's a bit disconcerting to read the same advice, the same lan- 
guage and ideological devices, in punk rock magazines featuring in- 
terviews, and even articles, with Unamerican Activities. 

I've been seeing Unamerican product for several years now and 
always dismissed it as hovering somewhere between silly and stupid, 
but at least harmless. If you'd asked me in 1995, 1 would've guessed 
the (first and only) Unamerican zine-nothing more than poorly-de- 
signed flyers with short slogans-had been done by some fresh-faced 
college freshman, brand new to the slogan-saturated Berkeley scene. 
Only later did I realize that Unamerican Activities is a local San Fran- 
cisco company, peddling product-stickers, buttons, t-shirts, and mugs- 
plastered in catch phrases. The premise is agitprop and the merchan- 
dise, a tool. Meanwhile, Unamerican frontman Srini Kumar regularly 
drafts manifestos equating free enterprise with free speech and pro- 
moting the concept of "punk business" as the shining path. It's here 
that Unamerican Activities modestly stakes its claim as a vanguard 
organization-anarchy's ad agency, according to the PR. And if Un- 
american has anything to say about it, the ad copy avows, the revolu- 
tion is going to be one big fuckin' party. 

It's the fact that Unamerican promises such easy liberation that 
makes me suspicious, and the rhetoric of an Unamerican Revolution 
becomes the ideological itch I eventually have to scratch. Call me a 
cynic, but I'm not the kind of girl who believes that power can be 
dispersed with the slap of a sticker. 

Browsing the catalog fine print, the litany of slogans gets to 
be mind-numbing. (Do we need "the devil is cute" and "be not har- 
assed" when alternateen mall store Hot Topic already offers the world 
"give weirdness a chance," "all this AND low wages," and velvet mini- 
skirts?) Between the catalog and the company testimonials, the sheer 
bulk of product and propaganda begins to feel extreme in itself, the 
bloated surplus effect of the interpenetration of anarchy and capital. 
Clearly, Unamerican Activities doesn't exist in a market void 
just because it calls itself "punk." As the laws of the market attempt 
to regulate our everyday lives, the imaginable terrain of politics is 
confined to private acts of consumption; human relations are mer- 
chandised as a brand name and logo. Hardly an exception, Unameri- 
can is a "local" case study-the reproduction of capital in punk gear. 

It's been said many times of Western late-capitalist culture 
that nothing is free but we are free to buy. Unamerican is a symptom 
of that logic, but also a very apt pupil. Alienation proves to be one of 
the more "secure investment climates" around, and as capital discov- 
ers the potential in marketing a "safe" revolution, Unamerican help- 
fully supplies some of the merchandise. 


buy unamerican and get laid! 

If people don't know they want [your product], how can you make 
them want it? -Srini Kumar 

I recently picked up an Unamerican flyer at a local record store, bored 
and restless, and found out for myself that my liberation was only an 
order away: 

YOU have the skilb we need in order to build a world-class revolutionary 
organism. ..The Internet and other grassroots media is [sic] the bomb, 
we are the fuse, you are the spark. LETS BLOW UP THE HEADS OF TO- 
DAY'S YOUTH! We can only offer you a better world in exchange for your 
efforts... A better world starts, of course, with better friends, better 
lovers, better employment for YOU! This isn't charity work, we will repay 
feeling of VICTORY OVER HORSESHIT. Simply live a life that's aware of 
your own potential and it's yours. . . Unamerican Activities is [sic] grass- 
roots campaign to REBOOT AMERICA. We are this nation's saving grace- 
a subculture that uses its freedom to make things better for everyone. 1 

In exchange for a better world, for the "purest orgasmic joy 
there is," all I have to do is-well, it's not clear until I turned the flyer 
over to find their catalog printed on the back. And in the corner: 
"This is phase one of our plot to REBOOT AMERICA, and we need your 
input badly. Please consider buying something to keep this revolution 
alive! You rock!" (That last "you rock" just clinches it for me, you?) 

Sifting through all the ad copy and manifestos, the benefits of 
buying Unamerican are seemingly endless-freedom from wage sla- 
very, better sex and better friends, a guilt-free and almost effortless 
liberation, and national political representation. It's a marketing fa- 
ble, a cartoon version of the crisis in the United States solved by 
Unamerican Activities and their heroic plots to "re-boot America." 
Offering "quality rebellion at affordable prices," Unamerican's Kumar 
asks, "What if I promised you a revolution that was a fucking party?" 2 
Having some training in the history of revolutionary movements, I'd 
say that's a difficult promise to keep. However, Kumar swears that 
"[Unamerican] wants a country that is conscious of its potential to 
really represent the will of the people, and with your help, we will 
represent that wilt." (Is this voting with your dollars?) 

Throughout it all, Unamerican makes an appeal for you to real- 
ize your potential and contribute to the cause. By becoming a cus- 
tomer, you'll also be a foot soldier in the revolution. Slap on a few 
stickers, pull on a t-shirt, and proudly advertise your affiliation with 
the Unamerican brand and its "world-class revolutionary organism"! 
You're annoying the boring and offending the sheep, fulfilling the 
horizon of your untapped potential. 

Consumption sets you free and "democracy" restored with your 
purchase of Unamerican merchandise. As a bonus the Man is mortally 
offended, the System collapses beneath the weight of so many witti- 
cisms, America is "re-booted," and Boredom, the Ultimate Weapon of 
The Man, is destroyed. 

And Unamerican thinks this isn't marketing? 

Commodity ideologies suggest conspicuous consumption is a 
sign of virtuous citizenship in late-capitalist culture. The more you 
buy, the more you contribute to the economy and the greater good of 
society. But the Unamerican promo kit tells you it's also the path of 
an exemplary revolutionary-buy Unamerican and join the revolt. It's 
empowerment that Unamerican retails at low, low prices and guaran- 
tees will give you a "voice" and the necessary tools to fight the Man 
-with all the political sophistication the phrase implies. 

Queer theorist Lauren Berlant made the wry observation that 
"revolutionary discourse is the kitsch of U.S. political culture." Com- 
mie gone chic, red stars are reformulated for velcro wallets and the 
Blank Panther is embossed on ashtrays for urban hipsters, thick with 
tragic irony. Meanwhile even Miller incorporates a once powerful state- 
ment about sexuality and public space into its ad campaigns-"we're 
beer, we're here." The use of rebel imagery in contemporary advertising 
is everywhere -lest we forget, Rollins pitching Mac lap-tops was a def- 


as the "pure" application of capitalist activity without state regula- 
tion or restriction. Even "common sense" ideology interprets free en- 
terprise as the "freedom" to make a buck when and where you can. It's 
the creature that spawned merger-monopolies and Free Trade Zones, 
those neocolonial encounters complete with paramilitaries patrolling 
the fenced enclosures of factories. The "free" in free enterprise is thus 
relative to your level of privilege. I'm not arguing Unamerican con- 
sciously endorses, say, the exploitation of Mexican factory (maquila- 
dora) workers. The point is, for a company that makes some high- 
falutin' claims to a radical agenda, they haven't done a whole lot of 
homework before putting their product— and politics— on the market. 

Bad homework is the key phrase. What else do you call it when 
Unamerican argues that stickers are an ideal medium of democracy 
because you "can choose where to put 'em"? (Needless to say, practi- 
cal democracy is more complicated than that.) Capitalism is a complex 
formation with not only economic but political and ideological impli- 
cations. It is a social logic that not only overdetermines our institu- 
tions but also our human relations, even the language we use. The 
Unamerican analysis of capitalism is a two-dimensional caricature of 
faceless corporations imposing boredom and uniformity, a monolithic 
bogeyman. It makes for a safe, convenient Enemy, exemplified by a 
few Big Bad Guys from which Unamerican can distance themselves 
with a sigh of relief. 

But let's play along and follow the Unamerican argument about 
capitalism. The "fuck work" manifesto suggests that because profit- 
not innovation-drives most businesses, they become willing to trade 
on "mediocre ideas" and hierarchical bureaucracy to eliminate compe- 
tition. After all, as Kumar explains, "The ultimate goal of capitalism is 
monopoly, which can only be achieved by squashing all competition." 
But wait, his idea of "fighting back" consists of starting more private 
businesses and competing "the capitalists into the ground." 

This is accomplished with the successful marketing of "new ideas" 
that will, uh, squash all competition with a net result of more profit, 
more customers, and more consumption. How that differentiates the 
free enterprise "radicals" from the "evil" capitalists is far beyond me. 
But apparently, this is part of Kumar's mission to redefine the negative 
meanings of "free enterprise" - he says, in the same way "queeP' was 
reclaimed by queer activists to signal a radical politics. Of course, 
"queer" was a derogatory term, redefined in the midst of the AIDS 
crisis to combat institutional homophobias. I have a hard time feeling 
bad for those wealthy free-trade industrialists, go figure. 

But according to Kumar, all this entrepreneurial activity will 
destroy capitalism, re-vitalize the nation and yet nurture a revolution. 
Talk about perennial American mythologies! How individual and pri- 
vate business ventures will actually address the structural inequalities 
engendered by capitalism-in cahoots with regulatory logics of gender, 
race, heteronormativity, and even nationalism-is left unsaid. Mean- 
while the paradox-how exactly does a "bad" capitalism recuperate 
itself with a big white hat or better, mohawk— slips by, unseen. After 
all, entrepreneurial activity is the foundation of capitalist expansion, 
and it's a premise of market capitalism that everything and anything 
can be exchanged for a price-apparently also revolution. 

What's so transgressive about that? Unamerican offers an anal- 
ysis that hardly begins to scratch the surface of economic disparity. It 
also assumes a certain degree of material privilege-"fuck work," espe- 
cially in the form of wage labor, is hardly a viable option for most and 
its tedium not the worst part. Work is not just alienating, it is often 
back-breaking, insecure, and poorly paid. But "fuck work and start 
your own business" is hardly a revolutionary answer to the more op- 
pressive aspects of work. (Do you really think the sixty year-old Filipi- 
no janitor at the mall can quit and set up his own Internet enter- 
prise?) And what about solidarity? I'd rather see people organize for 
better work conditions, wages, and a social safety net. 

In fact, the Unamerican model of social change smacks of "com- 
passionate conservatism," favorite philosophy of the junior Bush, in 
which free enterprise is once again poised to save the day, and Amer- 
ica. Unamerican's "poverty sucks" campaign hardly strays from this 
conservative social politic, avoiding causal structural analysis-espe- 
cially if you don't count "The Man" as adequate explanation. Instead, 
both Unamerican and so-called "compassionate conservatives" substi- 
tute "intentional individual goodwill for the nation-state's commit- 
ment to fostering democracy." 11 It's a fantasy of civic duty is principal- 

ly available to "good" individuals with good money, whether it's in- 
vesting in poor communities (with the promise of a return on that 
investment) or starting up those businesses which will eventually top- 
ple capitalism (with those higher profit margins). 

Think about it. The assumed audience to whom Unamerican ad- 
dresses its product and politics is class-specific, one with the resourc- 
es and the capital to start businesses (especially ones that will some- 
how out-compete existing corporations!) and re-write company poli- 
cies. When asked exactly what he expects "extreme youth" to do in 
order to "fuck work" and start their revolutionary small businesses, 
Kumar replies, "save [money]... If you're smarter and can take a risk, 
why not quit and let those [other] people have those jobs?" (Appar- 
ently, "smarter" is the same as "richer.") For those whose monthly 
expenses (including rent, bills, loans, mortgages, groceries) prevent 
such entrepreneurial measures, you're left with the advice to "be cre- 
ative." What Unamerican might have to say about disastrous rates of 
unemployment and metropolitan and rural poverty is probably simply 
that it "sucks." With a vague, piecemeal response of individual entre- 
preneurship, Unamerican volunteers no analysis of these structural in- 
equalities, and certainly offers no structural or collective solution. 

Unamerican's enthusiastic assertion that the Internet provides 
the opportunity for "true democracy" is also class-specific. Or is it just 
tacky to consider the realities of limited access (economically and 
socially) and material production? (Those computers aren't assembled 
by Silicon Valley entrepreneurs, after all.) Recent reports from the 
Commerce Department describe a "deep divide" in both access and use 
along race, class and regional lines; less than 20 percent of African 
Americans and Latinos have any access, as do rural populations at all 
income levels." Even the federal government recognizes this lack as 
less than democratic, pointing out that computers are still expensive 
and monthly connection costs are often beyond the budgets of moder- 
ate and low-income households. But Unamerican appears to believe 
the Internet is, in the hip Silicon Valley lingo, "democracy's killer 
ap(plication)" and a perfect medium for reaching "the people" with 
the company message. 

So it's not surprising that company ad copy also fails to address 
those powerful logics of social regulation like race, gender or heter- 
onormativity. (Unless "racism is typical" or "punk rock girl" really breaks 
down your walls.) In fact, Kumar thinks race is boring. In an interview 
with Stir, an on-line Asian American magazine 1 ', Kumar says, "I mean, 
the more you talk about race, the less far you get with actual substan- 
tial change in people's lives... I am trying to craft the revolution for all 

Of course, "all people" are not all equal, and any abstract claim 
to the contrary is a lie. Race continues to be a defining (and oppres- 
sive) condition of disenfranchisement and alienation in many people's 
lives. I'd be forced to wonder about racially-motivated hate crimes, 
urban underdevelopment, police brutality, anti-immigrant legislation, 
and all those nasty stereotypes about welfare queens, wetbacks, Chink 
spies, and dead Indians. How the hell do we talk about these, and how 
do we agitate for social change, without talking about race? 

The sweeping dismissal of so many political struggles is stun- 
ning, but hardly a surprise. Kumars inability to comprehend "race" as 
a system of domination is typical of the neoliberal vagueness of com- 
pany politics. (That is, Unamerican will sell you stickers that read, 
"destroy the racist infrastructure," even though "race" is boring.) I 
mean, if he can't recognize the role of the State or Silicon Valley when 
speaking of homelessness and poverty in the City, why should he catch 
on when the dynamics are subtler? 

At the same time, Unamerican feeds a fashionably apolitical 
irony that avoids complicity with-or attachment to-any of the poli- 
tics expressed (if any are). "Whitey will pay" surfaces on office com- 
puter monitors and across the chests of hipster white boys because it's 
decidedly not threatening, commercially retailed alongside "dope smok- 
ing moron." Without social context or consequence, a volatile history 
of severe oppression is (again) disappeared and the desire for justice 
reduced to (bad) kitsch. 

The "inalienable right" to free enterprise-Unamerican's central 
political platform-ducks the question of power and hegemony, repro- 
ducing instead the "ideology of unimpaired entrepreneurial activity 
that was sanctified as free-market patriotism during and after the Re- 
agan regime." 16 Never mind the bourgeois business bravado-once we 


as the "pure" application of capitalist activity without state regula- 
tion or restriction. Even "common sense" ideology interprets free en- 
terprise as the "freedom" to make a buck when and where you can. It's 
the creature that spawned merger-monopolies and Free Trade Zones, 
those neocolonial encounters complete with paramilitaries patrolling 
the fenced enclosures of factories. The "free" in free enterprise is thus 
relative to your level of privilege. I'm not arguing Unamerican con- 
sciously endorses, say, the exploitation of Mexican factory (maquila- 
dora) workers. The point is, for a company that makes some high- 
falutin' claims to a radical agenda, they haven't done a whole lot of 
homework before putting their product— and politics— on the market. 

Bad homework is the key phrase. What else do you call it when 
Unamerican argues that stickers are an ideal medium of democracy 
because you "can choose where to put 'em"? (Needless to say, practi- 
cal democracy is more complicated than that.) Capitalism is a complex 
formation with not only economic but political and ideological impli- 
cations. It is a social logic that not only overdetermines our institu- 
tions but also our human relations, even the language we use. The 
Unamerican analysis of capitalism is a two-dimensional caricature of 
faceless corporations imposing boredom and uniformity, a monolithic 
bogeyman. It makes for a safe, convenient Enemy, exemplified by a 
few Big Bad Guys from which Unamerican can distance themselves 
with a sigh of relief. 

But let's play along and follow the Unamerican argument about 
capitalism. The "fuck work" manifesto suggests that because profit- 
not innovation-drives most businesses, they become willing to trade 
on "mediocre ideas" and hierarchical bureaucracy to eliminate compe- 
tition. After all, as Kumar explains, "The ultimate goal of capitalism is 
monopoly, which can only be achieved by squashing all competition." 
But wait, his idea of "fighting back" consists of starting more private 
businesses and competing "the capitalists into the ground." 

This is accomplished with the successful marketing of "new ideas" 
that will, uh, squash all competition with a net result of more profit, 
more customers, and more consumption. How that differentiates the 
free enterprise "radicals" from the "evil" capitalists is far beyond me. 
But apparently, this is part of Kumar's mission to redefine the negative 
meanings of "free enterprise" - he says, in the same way "queeP' was 
reclaimed by queer activists to signal a radical politics. Of course, 
"queer" was a derogatory term, redefined in the midst of the AIDS 
crisis to combat institutional homophobias. I have a hard time feeling 
bad for those wealthy free-trade industrialists, go figure. 

But according to Kumar, all this entrepreneurial activity will 
destroy capitalism, re-vitalize the nation and yet nurture a revolution. 
Talk about perennial American mythologies! How individual and pri- 
vate business ventures will actually address the structural inequalities 
engendered by capitalism-in cahoots with regulatory logics of gender, 
race, heteronormativity, and even nationalism-is left unsaid. Mean- 
while the paradox-how exactly does a "bad" capitalism recuperate 
itself with a big white hat or better, mohawk— slips by, unseen. After 
all, entrepreneurial activity is the foundation of capitalist expansion, 
and it's a premise of market capitalism that everything and anything 
can be exchanged for a price-apparently also revolution. 

What's so transgressive about that? Unamerican offers an anal- 
ysis that hardly begins to scratch the surface of economic disparity. It 
also assumes a certain degree of material privilege-"fuck work," espe- 
cially in the form of wage labor, is hardly a viable option for most and 
its tedium not the worst part. Work is not just alienating, it is often 
back-breaking, insecure, and poorly paid. But "fuck work and start 
your own business" is hardly a revolutionary answer to the more op- 
pressive aspects of work. (Do you really think the sixty year-old Filipi- 
no janitor at the mall can quit and set up his own Internet enter- 
prise?) And what about solidarity? I'd rather see people organize for 
better work conditions, wages, and a social safety net. 

In fact, the Unamerican model of social change smacks of "com- 
passionate conservatism," favorite philosophy of the junior Bush, in 
which free enterprise is once again poised to save the day, and Amer- 
ica. Unamerican's "poverty sucks" campaign hardly strays from this 
conservative social politic, avoiding causal structural analysis-espe- 
cially if you don't count "The Man" as adequate explanation. Instead, 
both Unamerican and so-called "compassionate conservatives" substi- 
tute "intentional individual goodwill for the nation-state's commit- 
ment to fostering democracy." 11 It's a fantasy of civic duty is principal- 

ly available to "good" individuals with good money, whether it's in- 
vesting in poor communities (with the promise of a return on that 
investment) or starting up those businesses which will eventually top- 
ple capitalism (with those higher profit margins). 

Think about it. The assumed audience to whom Unamerican ad- 
dresses its product and politics is class-specific, one with the resourc- 
es and the capital to start businesses (especially ones that will some- 
how out-compete existing corporations!) and re-write company poli- 
cies. When asked exactly what he expects "extreme youth" to do in 
order to "fuck work" and start their revolutionary small businesses, 
Kumar replies, "save [money]... If you're smarter and can take a risk, 
why not quit and let those [other] people have those jobs?" (Appar- 
ently, "smarter" is the same as "richer.") For those whose monthly 
expenses (including rent, bills, loans, mortgages, groceries) prevent 
such entrepreneurial measures, you're left with the advice to "be cre- 
ative." What Unamerican might have to say about disastrous rates of 
unemployment and metropolitan and rural poverty is probably simply 
that it "sucks." With a vague, piecemeal response of individual entre- 
preneurship, Unamerican volunteers no analysis of these structural in- 
equalities, and certainly offers no structural or collective solution. 

Unamerican's enthusiastic assertion that the Internet provides 
the opportunity for "true democracy" is also class-specific. Or is it just 
tacky to consider the realities of limited access (economically and 
socially) and material production? (Those computers aren't assembled 
by Silicon Valley entrepreneurs, after all.) Recent reports from the 
Commerce Department describe a "deep divide" in both access and use 
along race, class and regional lines; less than 20 percent of African 
Americans and Latinos have any access, as do rural populations at all 
income levels." Even the federal government recognizes this lack as 
less than democratic, pointing out that computers are still expensive 
and monthly connection costs are often beyond the budgets of moder- 
ate and low-income households. But Unamerican appears to believe 
the Internet is, in the hip Silicon Valley lingo, "democracy's killer 
ap(plication)" and a perfect medium for reaching "the people" with 
the company message. 

So it's not surprising that company ad copy also fails to address 
those powerful logics of social regulation like race, gender or heter- 
onormativity. (Unless "racism is typical" or "punk rock girl" really breaks 
down your walls.) In fact, Kumar thinks race is boring. In an interview 
with Stir, an on-line Asian American magazine 1 ', Kumar says, "I mean, 
the more you talk about race, the less far you get with actual substan- 
tial change in people's lives... I am trying to craft the revolution for all 

Of course, "all people" are not all equal, and any abstract claim 
to the contrary is a lie. Race continues to be a defining (and oppres- 
sive) condition of disenfranchisement and alienation in many people's 
lives. I'd be forced to wonder about racially-motivated hate crimes, 
urban underdevelopment, police brutality, anti-immigrant legislation, 
and all those nasty stereotypes about welfare queens, wetbacks, Chink 
spies, and dead Indians. How the hell do we talk about these, and how 
do we agitate for social change, without talking about race? 

The sweeping dismissal of so many political struggles is stun- 
ning, but hardly a surprise. Kumars inability to comprehend "race" as 
a system of domination is typical of the neoliberal vagueness of com- 
pany politics. (That is, Unamerican will sell you stickers that read, 
"destroy the racist infrastructure," even though "race" is boring.) I 
mean, if he can't recognize the role of the State or Silicon Valley when 
speaking of homelessness and poverty in the City, why should he catch 
on when the dynamics are subtler? 

At the same time, Unamerican feeds a fashionably apolitical 
irony that avoids complicity with-or attachment to-any of the poli- 
tics expressed (if any are). "Whitey will pay" surfaces on office com- 
puter monitors and across the chests of hipster white boys because it's 
decidedly not threatening, commercially retailed alongside "dope smok- 
ing moron." Without social context or consequence, a volatile history 
of severe oppression is (again) disappeared and the desire for justice 
reduced to (bad) kitsch. 

The "inalienable right" to free enterprise-Unamerican's central 
political platform-ducks the question of power and hegemony, repro- 
ducing instead the "ideology of unimpaired entrepreneurial activity 
that was sanctified as free-market patriotism during and after the Re- 
agan regime." 16 Never mind the bourgeois business bravado-once we 


take into account relations of class, "race" and nation, the abstract 
promise of free enterprise and (Un)American Dreams falls flat. 

managing unity before it gets out of hand 

Ideas that hold the promise of producing social criticism are insinuated 
into products in an attempt to subordinate the dynamics of social struggle 
to the production of new lifestyles. -Henry Giroux" 

t's no accident that Unamerican's Kumar echoes the reams of advice 
and rhetoric produced by marketing "experts." In a series of "DIY 
Work" columns in Punk Planet, Kumar gives lessons in Entrepreneurial 
Business 101, describing his "punk" version of niche marketing and 
free enterprise. He doesn't fiddle much with the formula, presenting 
what are standard maxims in business marketing with the radical ad- 
dition of a few references to "punk board games" and admonitions to 
"fucking rock!" 

Buzzwords like "innovation," "vision," and "directed play" are a 
dime a dozen in both Kumar's writing and the more mainstream busi- 
ness literature. Pick up any recent book on management skills and com- 
pare as Kumar weighs in with the "fuck work" manifesto. Directed at 
employers, he helpfully advises they "create community in the context 
of your company" to improve efficiency, morale, management costs, 
staff turnover, trustworthiness, and thus profit. Business Week, Green- 
field Marketing Consultants, and Kumar all suggest companies ditch 
the mass appeals and pursue niche markets -especially those lucrative 
youth ones-and create "relationships" with consumers. Kumar argues 
for ideas over profit, and so do the authors of Radical Marketing. Kumar 
says to make sure your product makes people happy, their lives better. 
What corporation doesn't present a public face of "helping" people lead 
better lives? 

Nothing new or revolutionary here, any superficial survey of 
business literature will reveal where Kumar picked up his motivation- 
al-speak. I feel like Unamerican hopes I'm too naive to recognize the 
spin-doctoring, not savvy enough to catch on. 

Reading the business bestsellers, what creeps me out most is 
the snake-oil spin marketers put on the notion of "community," which 
Unamerican seems to have lifted right off the page. Deliberately crafted 
for maximum consumer identification with both the product and the 
company "personality," Radical Marketing suggests that companies 
"encourage their customers to think of themselves as a community... 
and promote the clothing and bumper stickers and other badges of 
honor that identify the consumer as a member of a special group." 18 
So what does it mean when this is all that Unamerican retails? 

What really bothers me most, then, isn't the advice on how to 
run a small business, as much as his idea for "punk" versions of any 
other product makes me shudder. It's that Kumar actively promotes 
relations of commerce as the glue that transcends all social ills. These 
business relations even provide his model for revolution. He writes: 

People in the punk and radical scene are fond of saying 'unity' this 
and 'unity' that, but there is no more intensely united effort than a busi- 
ness partnership. When people of different races and ages and whatever 
get together and form businesses, there is the potential for true equality 
and justice... This important idea here is something I'm calling unity 
management.. .This kind ofunity-the nearly spiritual bond between differ- 
ent people pulling for a common interest-IS THE REVOLUTION." 

The idea of "managing" unity, as if it were something that 
required constraint, is bad enough. Never mind that elsewhere he 
gives advice to "move fast enough that nobody can copy your idea 
until you've dominated the market." 20 Unity, my ass. 

The mere suggestion that business culture allows us to tran- 
scend racial conflict and other social ills for higher purposes (like 
profit?) is so reactionary and unprogressive, never mind the very real 
possibility for nausea. (Does it make you sick?) No other models of 
social change are mentioned and meanwhile, structural inequalities 
and state apparatus are ignored in the course of this "revolution." 

The conservatism of the Reagan revolution proves its partial 
success, once again. Even while claiming radical politics, Unamerican 
Activities enshrines capitalist activity as the fundamental bedrock of 
community, defined either by mutual commerce or consumer loyalty. 
The uneven relationship between producer and consumer is typically 
not addressed, except to invoke "punk" as both a scene and ready- 
made niche market. (Apparently, this is also where the "getting laid" 
part of the ad copy promise comes in. When I asked, Kumar wrote, 
"Hooking people together with other people [through punk business- 
es] will inevitably lead to better sex and better jobs.") 

Promoting a logic of business as a model for politics, then, 
Unamerican lodges "true equality and justice" firmly in the lap of 
market capitalism. And in their relentless praise of free enterprise and 
relations of commerce as models for "unity," Unamerican makes tacit 
peace with the exploitative aspects of capitalist culture. 

It's no accident that company politics preach a (supposedly) 
democratic ethos of consumption and capital —material goods and 
happiness are available for all. Just "fuck work" and start your own 
business! Be your own boss! Why bother changing the system when 
the system can work for you? The hegemonic logic of the commodity 
and the marketplace mobilize desire toward consumption rather than 
struggle, and Unamerican does its part to pitch in. That uneven social 
relations present very real obstacles in people's lives is acknowledged 
-sort of-and promptly dismissed as Unamerican advises you to "sim- 
ply live a life that's aware of your potential and it's yours." 

Accordingly, Unamerican ad copy stresses what are the essen- 
tial plot-points of American national mythology: the hyper-individu- 
alism of the self-made man, the fallacy of bootstraps and endless 
opportunities, and the entrepreneurial spirit of Yankee ingenuity. Ku- 
mar goes so far as to suggest that America has given the world a 
dream of freedom (if you don't count institutionalized slavery or cap- 
ital punishment), the power of self-determination (never mind mili- 
tary intervention in Southeast Asia or Latin America or that nasty 
colonialism in Guam, Saipan, and Puerto Rico), and even a sense of 
humor (because the rest of us didn't have one before?). 

Echoing other motivationally hazy ad slogans to "Be All You 
Can Be" (U.S. army) and "Just Do It" "Because You Can" (Nike), Un- 
american assumes its consumers have both the money and social priv- 
ilege to do so. For any of us who face daily violations based on class, 
race, gender, or sexuality, it's a little less than liberating to be told to 
"dare to dream." As artist Jenny Holzer once wrote, "The idea of tran- 
scendence obscures oppression," and the Unamerican illusion of unity 
through free enterprise is no exception. 

If we were to take seriously Unamerican's political claims, it 
wouldn't be to thoughtfully consider ruptures in the global political 
landscape, post-industrial economic conditions or racial strife. De- 
spite the Utopian rhetoric about revolutions and untapped potential, 
it would be silly to imagine that the Unamerican agenda might offer 
any useful insight. Unamerican would serve well, however, as an ex- 
ample of "capitalism's constant search for new areas to colonize." 21 

So that even as capital seeks to secure its global conquest, 
Unamerican embodies a social commodity form that has become so 
regular, so mundane, so entrenched in daily life that when liberation 
is subordinated to relations of commerce, we hardly notice at all. 

unamerican speaks for itself 

Punk was founded oy Malcolm McLaren and Malcolm McLaren did it for 
the bucks. I mean, Malcolm McLaren came up with the whole concept... 
He was doing it for the bucks and it's because of his work with the Sex 
Pistols that punk is anywhere at all. -Srini Kumar, Stir 

Never mind that Kumar's genealogy of punk leaves a lot to be desired- 
I mean, talk about gaping holes and mainstream mythology-his insis- 
tence, that punk owes its existence to a man who was in it for the 
money seems like a sly justification for his own Unamerican Activities. 
McLaren cashed in, why can't Kumar? 

Unamerican might suggest they're simply a bunch of kids trying 
to pay the rent. They might say, "Hey, we're just trying to make a living 
for ourselves, what do you do?" In response, however, I'd have to 
answer, "I teach women's studies and queer theory at a state universi- 
ty, which makes me especially aware that while I'm technically a part 
of a social institution, I don't have to parrot the conservative social 
politics of that institution. While it's impossible to imagine survival 
outside of capitalism— in the West at least— not all cultural activity 
has to automatically reproduce its hegemony." That is, making a living 
doesn't mean you have to relentlessly reproduce the logic of business 
culture and entrepreneurial capital. 

But therein lies the only consistency of Unamerican Activities— 
the reproduction not only of capitalist ideology and business culture, 
but the desire for the fulfillment of both. If s glaringly obvious in the 
self-promotional stuff, originally composed to score a write up in ex- 
pensive-toys-for-rich-tech-boys magazine Wired. Reading the standard- 
ized press release, it's hard not to cringe at the seemingly desperate 
tone ("so please please please write about us") and the groping desire 
for mainstream corporate recognition of their company spunk. 

In case you need an angle, Kumar provides a list of several 
possible story-lines - all focused not on the political meandering Ku- 
mar presents everywhere else, but on the business and its "cutting- 
edge" success. It's all about shrewd niche marketing ("we have man- 
aged to unite every single freak under one flag.. .even the HOMELESS 
in SF sell our stickers") and the use of internet technology ("the Inter- 
net has the potential to be DEMOCRACY'S KILLER AP, yet where is the 
prospect of an official Internet vote?"). It's also the bootstrap tale of 
small business entrepreneurs ("it's a classic hobby-turned-business story, 
and franchises are on the way") and an inspirational story about start- 
ing small and making it big ("we are a personal site that makes scads 
of money out of two San Francisco apartments-and your readers should 
do it too!... Motivational articles rule!"). 

Unamerican markets itself according to a corporate mythology 
of the David-and-Goliath tale-the iconoclastic lil' guy versus the big 
faceless corporation. It's an old story; think Apple's "Think Different" 
series, or Academy Award-winning Jerry Maguire starring Tom Cruise as 
the DIY sports agent with a heart. Kumar even makes sure that you, 
the press, know that Unamerican is a classic example of vanguard busi- 
ness ventures, with no competition in the slogan market at all. (Actu- 
ally, thafs a lie. What about the "give weirdness a chance" buttons 
and "bitch goddess" stickers in head shops and alternateen stores? 
And never mind all the DIY propagandists in punk rock, like long-time 
Anok & Peace, and those who make their own patches and stickers.) 
Investment opportunities, it should be noted, are available. 

Unamerican also states its intent to become the "Tommy Hil- 
figer of Punk Fucking Rock," selling a complete rebel lifestyle to the 
kids. Meant humorously, it's still ominous. It also suggests the estab- 
lishment of Unamerican as a recognizable brand name, with all sym- 
bolic connotations attached. 

The confident claim that Unamerican is the brand name product 
around which a community of freaks has united is arrogant, sure, but 
it's also a market goal - "communities" organized and affiliated ac- 
cording to their consumer/corporate loyalties. Does it matter that 
Unamerican is not at the level of, say, the Gap or Tommy Hilfiqer? The 
company operates according to the same marketing principles. The 
Unamerican goal of distributing five million "fuck work" stickers seems 
to be less about creating a nationwide activist network of "extreme 
youth" than it is tapping into a pool of potential customers for future 
Unamerican product expansion. (This is classic marketing strategy, give 
stuff away and customers will come back and pay for more.) 

The presence of the Unamerican tag-line on all product is no 
small matter, either. Unamerican not only nurtures a vision of "com- 
munity" as customer base, but promises that a very real "community" 
can be had under the unifying logo of the company flag. Remember 
Radical Marketing? The authors suggest that the "key to creating a 
brand is the pleasure a buyer gets in both acquiring and owning a 
product... much of that is tied to joining and belonging to a group."" 
And what else but brand name recognition is behind the Unamerican 
offer to send you custom stickers, $50 for 100, your slogan in the 
copyrighted Unamerican design? At those prices, you're paying more 
for the company affiliation than for the product itself (which can be 
had elsewhere for much, much cheaper). 

To paraphrase cultural critic Ellen Willis and her analysis of Dis- 
ney iconography, I would say that a state where politics is indistin- 
guishable from logo and where the practice of politics risks infringe- 
ment of private property is a state that values the corporate over the 

Why is Kumar in the slogan business? He answers in the Stir 
interview. While claiming to provide his customers with a "voice," he 
says, "Any company that is involved in the business of helping people 
to express themselves is golden. I mean, look at [multi-million dollar 
internet corporations] Geocities and Yahoo." And when asked if he 
feels that there is a strong tie between making money and punk, he 
hardly objects: "Enterprise! Free enterprise. Making the most of your 
freedom to make your life and the lives of others better. I mean, that's 
great. That's very punk." What does this mean? 

To me, it's the collapse of business culture into subculture, the 
line so blurred that we can't tell the difference between DIY and mar- 
ket capitalism, sponsored by Unamerican Activities. 

If s Dilbert for punks. Is this your idea of revolution? 

unamerican, my ass 

To do away with the illusion that we have chosen these pleasures is to 
demand new choices. The call to abandon illusions about a condition is 
the call to abandon a condition that requires illusions. -Laura Kipnis" 

my friends (which I admit isn't very scientific) I found few 
"punk free enterprise." One wrote to me, "It is banal and safe 

stickers on things. No revolution is to be had through mer- 
ian3ising." Another wondered, and this is important, "If 'destroy 
capitalism' is all that important a message to you, aren't there better 
ways to go about your supposed cause than creating an unnecessary 
product and marketing it commercially without any analysis or con- 
text?" Or as another said, "We used to make our own stickers all the 
time, just small ones that we gave away for free. I guess we weren't 
smart enough to sell them. Does that make us bad anarchists?" 

Unamerican wants it both ways, promising revolution in one 
breath and taking it back with the next. The promo kit insists Un- 
american is a vanguard organization but then again— and especially 
when the heat is on— it's "just" a sticker company, a harmless bunch 
of punk kids in a San Francisco apartment. (It makes for a neat trap- 
door escape.) Whatever the intent, however, Unamerican Activities 
functions as the containment of revolutionary desire. 

By way of an expanding product-line and an enthusiastic busi- 
ness politic, Unamerican wants to channel your revolutionary desire 
into a conventional capitalist mold. Between bootstrap entrepreneur- 
ship and individual consumer will, ifs the return of that patriotic 
fetish, the American Dream in a mohawk. Liberation is defined by our 
participation in capitalist relations, whether we're buying Unameri- 
can or embarking on our own self-starter enterprises. Freedom is pro- 
duced in forms custom-made to our social order, packaged as mer- 
chandise and exchanged on the market. Politics are appropriated for 
ad copy, community hijacked as a customer base, and meanwhile so- 
cial justice is "managed" as a marketing gimmick for selling product. 

The irony is in having us believe "liberation" is at hand, that 
revolution is as easy as purchasing a slew of stickers, a t-shirt or two. 

Social transformation requires some kind of structural upheaval 
and an ideological threat; the kind of challenge embodied, for in- 
stance, in the theatricalization of rage by the likes of queer activists 
and striking workers. Drawing on both structural analyses and the art 
of activism, that's radical politics. Unamerican only manages to reaf- 
firm the status quo, cultivating a free-market agenda and promoting 
business principles as the new social imagination, disguised in DIY 
and a bad attitude. 

And does it matter if Unamerican calls itself punk? 

Well, only if we want to believe that punk is or can be a criti- 
cal, oppositional space- or at least a suspicious one. Or even simply a 
creative culture - as Bean asked, do we really need someone to mass- 
merchandise our politics on five-inch stickers and t-shirts, to "help" 
us express ourselves? Haven't we been doing this all along, producing 
our culture instead of simply buying it? 

To critically question Unamerican Activities is to begin to ex- 
amine its logic of liberation and criticize the mode of social organiza- 
tion that produces it. As market capitalism re-packages everything 
"countercultural" from punk to communist chic, it's important that 
we recognize that process, and not mistake it for a revolution. 

'I can provide copies of any of the Unamerican advertising and promotional material I 
quote on request. 'Both this quote and the one following are from "The Unamerican 
Manifesto," at, printed June 24, 1999. 
'These are all slogans Unamerican Activities sells. 'Henry Giroux, "Consuming Social 
Change: The 'United Colors of Benetton,'" p. 27. ! AU quotes about the "poverty sucks" 
campaign were found at, printed on June 
24, 1999. 'Found at 'Tim Redmond, 
"Zero-sum politics," SF Bay Guardian. Vol. 28, No. 40, July 7-13, 1999, p. 23 'Turd-Filled 
Donuts Ivy McClelland taped this interview with San Francisco Mayor Willie Brown in Fall 
1998. Reprinted in MRR 192 (May 1999). 'Once used to justify "welfare" for the rich-tax 
cuts for higher income brackets, et cetera. '"These comments were found at http://, printed on June 24, 1999. "Lauren Berlant, 
The Queen of American Goes to Washington City: Essays on Sex and Citizenship (Durham: 
Duke University Press), 1993, p.7. "Ramon G. McLeod, "Huge Internet Gap Between 
Whites, Blacks, Latinos and the poor are also being left behind," San Francisco Chronicle, 
July 9, 1999. "By the way, Kumar also thinks Asian Americans are poorly-suited for 
"edge" cultures. Talk about perpetuating stereotypes at 
"Kumar claims "get a job junkie" is a response to heroin chic, but it just sounds mean and 
nasty. "Berlant, p. 179. "Giroux, p. 15. "Sam Hill and Glenn Rifkin, Radical Marketing: 
From Harvard to Harley, Lessons From Ten that Broke the Rules and Made It Big (New York: 
Harper Collins Business), 1999, p. 25. "Punk Planet 28 (November/December 1998), p. 
106. *>Punk Planet 31 (May/June 1999), p. 104. "Judith Williamson, "Woman Is an Is- 
land: Femininity and Colonization," in Studies in Entertainment, p. 116. n Hill and Rifkin, 
p. 48. "Kipnis, p. 99. 

The current members of Shotwell are Jimmy, vocals, 
guitar. Buzz, bass and vocals, Chris, drums. Paul from 
No! Records also sat in. Interview by Arwen. 
MRR: What does the Shotwell discography consist 

Band: The Shotwell Coho 7" in "96 on Broken Rekids, 
the split 7" with Discount on What Else Records, songs 
on the "Addicted to Dayquil" Minneapolis comp. 
I think Discount was on that too, it came out in '97. The 
"Celery Beef And Iron" 10" and CD on Broken Rekids 
in '97 or '98. And some tapes. Three songs on the new 
Aaron Cometbus comp. 7" set. 
MRR: Shotwell formed in 1994? 
Jimmy: I don't know if it's ever really been formed or 
not. There have been so many damn people that have 
played in Shotwell. It's a huge entity. There's like 
twenty Shotwells. 

light their cigarettes out of the wind. Plus, it looks good, 
outside of a theater. On top of hills is probably the best, 
though. We did a show last year, with 50 Million, and 
that band the Spawn Sacks. They're from Chattanooga, 
really amazing people. 
Chris: To say the least. 

Jimmy: They're so cool. It was Gay Pride Day, we were 
up on top of the hill — it was loud. We had two Marshall 
half-stacks with a PA, and it was just loud. My friend 
called my house from 20th and Potrero — he could hear 
my voice, and he thought we were practicing in the San 
Carlos house — that was how loud it was. So in terms of 
the audience, we played for like fifty thousand people. 
MRR: In general when you play generator shows, 
what's the reaction from, on one side, the public — 
people who aren't punk rockers or aren't into shows 

Chris: At first it was selling the records, but then, 
shortly after we opened, it became the shows. It feels 
like a venue more that a record store at times. I like both 
sides to it. The record store's been four or five years of 
my life. 

MRR: Do you feel yourselves to be part of a commu- 
nity, whether it's a neighborhood here in the Mis- 
sion, or a punk community? Do you think that such 
a thing exists? 

Jimmy: We have that, I think. Any community has its 
traumas, but I think it's pretty good, it's a good thing. 
It's a lot smaller than I'd say it was five orten years ago. 
Also, it's nicer — there's a lot less fighting going on. It 
seems like, somehow, maybe all the jocks have gone to 
the Maritime or something, to see, like... I don't want to 
dis' any bands... 


Chris: You mean shitheads? What's a Shotwell? 
Jimmy: People who are forced to play shows that they 
don't want to play. 
Buzz: Slaves to the rock. 

Jimmy: We're screwed right now, because Buzz is 
going back to Delaware. We're probably going to keep 
booking shows, and just by some chance we'll convince 
Greg to do it. He'll be bummed, but he's a really good 
bass player. 

Buzz: We need somebody to play bass for like three to 
five months. 

MRR: Who are the original members of the band? 
Buzz: That depends. 

Jimmy: Yeah. I guess Shotwell Coho was Aaron (Elli- 
ot) and I, and Paul (Curran). Now I can't remember who 
the first Shotwell was. 
MRR: And how long did that last? 
Jimmy: I don't know — we had the weirdest tour, it felt 
like it lasted. ..two months, like five weeks — it was only 
a fourteen day tour. And after that, it was pretty clear 
there was no way we were going to be able to play 
together in the future. 
MRR: Because? 

Buzz: Jimmy was going to kill Aaron. That's what I've 
been told. 

Jimmy: Well, have you ever been really excited, you 
have a bunch of friends, you drive a long way, you go 
camping, and at the end of it you go, "God, I hate that 
person"? I don't by any means hate Paul or Aaron, but 
I don't know, it was just a very annoying little tour. 
MRR: Because of small aggravations, or because of 
fundamental personality disagreements? 
Jimmy: Um, I think it was poorly booked. A lot of the 
problem I have when I book shows is that I really 
picture that there' s gonna be like 70 punks who show up 
and dance and have agood old time, and spill some beer 
and slide around in it. It never happens like that — it's 
always like ten people, if you're lucky. 
MRR : You've been playing for about five years with 
various incarnations of the band, and you ' ve been in 
San Francisco that whole time, besides being on 
tour. But the turnouts here are still relatively small. 
Jimmy: No , they're really good. I mean, I think! I think 
they're really good. 

Buzz: Every time we play here at Mission Records 
there's tons of people. I mean, enough to make us 
happy. I've always been happy with every show we've 
played in SF. 

Jimmy: The street show the other day I thought was 
really good, too. Considering we put very few fliers up. 
MRR: That was a generator show at the 16th and 
Mission BART station. And you've done a lot of 
generator shows over the last few years. In what 
kinds of places? 

Jimmy: You know, the venues. Wherever there's an 
electrical outlet, or outside of theaters, where you can 
get a little bit of a projection. Corners, so people can 

but stop and see it anyway — and on the other side, 
the police? 

Chris: At the show on Wednesday, there weren't any 
police whatsoever, and there were a lot of Latino folks 
from the neighborhood that stopped by and just 

Buzz: It seems like people are generally excited that 
there's something going on, and they're really indiffer- 
ent about what kind of music it is. They just come out 
and enjoy it anyway. 

MRR: Why do you do generator shows? As opposed 
to booking and playing regular shows? 
Buzz: To free the rock! Basically, it's street level music. 
Why put it in a club like Bottom of the Hill or 

Jimmy: Which aren't the worst of 'em. They help 
out a lot of bands and stuff. 
MRR: Why do you think more punk bands 
don't play on the street? 
Jimmy: I think for a lot of people, it's not just 
about playing. A lot of people play music because 
it's a career, or a potential career. You don't get 
paid very much when you do generator shows. 
They're a lot of work, too. They're really fun, and 
sometimes they're hilarious, but they're a lot of 

MRR: Taking into account that you own Mis- 
sion Records, and run it, how do you feel about 
the relationship between money and punk 

Chris: It's a big pain in the ass. People take for 
granted a lot of things, like using the phone... 
Buzz: Your phone bills must be huge. 
Chris: And they come in with used CDs, and 
expect me to pay them more that if they were 
someone just off the street. And I can't really 
afford that... 

MRR: Epicenter recently went out of busi- 
ness down the street — do you feel like you're 
picking up the need that people have for a 
kind of community space as well as just a 
record store? 

Chris: Oh yeah. In that little room over there, we 
have part of Epicenter's zine library — we're 
holding it for 'em until they find a space. They're 
cool people, and they've helped out a lot here 
recently, helped clean up the back a little bit, 
gave us some record bins.. .they're cool people, 
it's too bad they shut down, but I understand 
why. If you only make two dollars on a record, 
you gotta sell a lot of records to pay the rent. 
MRR: You put on two shows a week? 
Chris: We try to keep it to one, because our 
neighbors hate us, but this week I'm doing two. 
MRR: Do you feel like that's the main moti- 
vation for this store, or is it more the buying 
and selling of records? 

Buzz: Even if they deserve it? 
Jimmy: No. Bands do what they want to do. Everyone 
has their own style. 

MRR: Do you feel like you're a part of the neighbor- 
hood in which you live too? 
Jimmy: I plant trees. 

Paul: That's the prerequisite to belonging to the com- 
munity. If you don't plant trees, you don't belong. 
Buzz: I think that's what's really great about the SF 
scene. A lot of places I've been, it hasn't been like a 
community environment at all. Before I came here, a lot 
of places seemed a lot more shallow — more about just 
yourself and your own shitty band. It seems like out 



here, everybody's working together a little bit more, as 
far as the punk community goes. 
MRR: You don't feel like the punk community is 

Buzz: Maybe some aspects of it. I feel like it's a little 
more together... you can take it like the Mission punk 
scene, as opposed to all of San Francisco. 
Jimmy: I think there are a lot of things that 
people call the punk scene. 
Buzz: I agree with that. 

Jimmy: 1 mean, Green Day's never gonna be 
punk. That can never be punk music. 
MRR: Were they ever? 
Jimmy: Maybe when. yeah. 1 think they had 
intentions. Maybe when Al was in the band or 
something. Is that mean? It's kinda true. 
MRR: A band like Green Day came from the 
same general area, and has a lot of cross- 
overs — people — that you know and have 
played music with in common. So what 
makes them, or bands like them, different? 
Jimmy: OK, say NOFX— they're not a punk 
band, they never will be. And yet, that's part of 
the punk community, so if you gauge by every- 
one who's at a NOFX show, that probably isn't 
a very good punk scene. But then if you take a 
band like Yogurt, they're a punk band. That's 
just refusing to acknowledge or recognize the 
way the media has redefined punk. They put a 
dollar price on it, tried to sell a very hollow 
product. It just has the illusions, the sounds, and 
somewhat the energy, but not the core spirit of 
the things that hold the community together — 
that we're all in this together, against the evil 
beings that go flying around past us in everyday 
lives. I think that's a big part of why punk is 
disjointed, 'cause you have these two, if not 
twenty, factions that are claiming to be punk. 
Now personally, It's really obvious what's punk 
to me, but everyone's gonna have a different 
version of it. As far as the Mission right now, it's 
pretty cool people. 

MRR: How would you describe the general 
sound of Shotwell? 

Buzz: That's the hardest question. It changes so 
often, since the different members change so 
often. It's still the same in a lot of aspects, but, 
you know, lggy's drumming and Chris' 
drumming.'s totally different. 
Jimmy: I'm totally different. 
Buzz: Yeah, sorry. Ididn'tgotoschool. I'manapeman. 
Paul: The rhythm section is the same, it's Jimmy that 
always keeps changing. 

Jimmy: Yeah, a lot of times. I've played a lot of the 
songs for a long time, and I get bored with 'em, so if you 
change parts around, then they're exciting again. 
Buzz: The songs don't have to stay the same. I know a 
lot of people feel that way, but I know when I came in 
a lot of the songs changed. And then once Ivy left and 
Chris started playing, they changed again. 
Chris: They got shorter. 

Jimmy: It's pretty rockin' right now. The band sounds 
really good. We get along really well. 

MRR: And you have plans for a new record soon? 

Jimmy: Yeah, a split with Miami, a 1 2" on No ! Records, 

probably like eight songs from each band. 

MRR: And Miami is... 

Jimmy: Ivy from Los Canadians. Matty and Aesop 

from Hickey...what, that's bad? Why? 

Paul: They won't like that. 


Jimmy: No? Hm. Is that dissing them in some way? Oh! 
Matty and Aesop from Yogurt. Is that better? See, that's 
an example. Some people don't want to be exploited 
and commercialized. Aaron Elliot shares a lot of those 
views — I think that those are really earnest punk views, 
to reject the corporatized version of "everything has a 
selling point". I wish people didn't think like that, 
because when we book shows, people think Aaron's 
gonna be there because of this Shotwell Coho 7" that 
came out like half a decade ago. When Aaron's not 
there — this guy in Dallas, I swear, because Aaron 
wasn't there, he decided not to do the show. It's the 
weirdest thing ever. So that type of hero worship or 
selling point personality can 
be a pain in the butt, even if 
you try not to exploit it, you 
know. We could have gotten a 
lot more people at shows if we 
said Chris was Aaron, and 
none of those motherfuckers 
would have known, except 
maybe five people. 
Buzz: Next time. 
Jimmy: I would never do that, 
though — use Aaron's name 
like that. 

Buzz: It's also not fair to 
Chris, 'cause he's the one 
that's actually doing it now. 
Paul: Not that he's anybody, 
but. did the tour go? 
MRR: Which tour are you 
talking about? 
Buzz: The one we just came 

home from. The one that totally fucked up all our lives. 

Jimmy: We are broken now. 

MRR: What was the extent of this tour? 

Chris: 3,800 miles. With the heater stuck on. 

Buzz: Across the Midwest, down the East Coast, and 

back through the South, and up to that place up there 

that's called Seattle. 

Paul: And everything was rockin' until Mi- 

Jimmy: Miami was good, actually. Miami 
really tried hard— there were a lot of people, 
they drank till they puked, they stayed up as 
late as we wanted to stay up. 
Buzz: It was everything after Gainesville. We 
found the only flier taped onto the bottom of a 
garbage can. And we played for maybe one, 
two people, which was pretty frequent after 
the East Coast. There were some great shows, 
but they didn't equal out to as many as the bad 
shows, or no shows. 

Jimmy: That night in Gainesville, there was a 
big party that was going on where they were 
doing art and music, and we should have just 
gone over to the party and played. The thing is, 
if you show up to a place that seems lame, it's 
probably just gonna be lame. If there's any- 
thing else going on, find something else. It 
sucks to have to squat for shows. 
MRR: Why didn't you bring the generator 
on the road? 

Buzz: We don't own one. . 
Jimmy: Generators are hard to get. People 
don't get rid of generators. 
MRR: What do you do for a living, Jimmy? 
Jimmy: I don't know, all kinds of stuff. 
MRR: Maybe that's the wrong way to put 
it. How do you get money to pay rent? 
Jimmy: We have pretty reasonable rent. I just 
find things that people have discarded. 
There's a lot of shit in SF, because it's a real 
small city and tons of people want to live here, 
so even a closet full of crap will get you like 
$300 a month in rent. People keep their places, 
so they don't clutter up so much stuff. They 
have to squeeze people in there, 'cause the 
rents are so expensive. It's also hip right now 
to have "space". So people toss shit all the 

MRR: You recently got an eviction notice? 
Jimmy: Yeah. 
MRR: Explain how that's symptomatic of what's 
going on in SF right now. If you think it is. 
Jimmy: Maybe strictly on a greedy landlord level, it is. 
But our landlord, hejust don't like me. He's just tired of 
me — he thinks I'm a pain in the ass — because if he tries 
to raise the rent weird amounts I say "no, you're not 
allowed to do that." So I think they're making a last 
ditch effort to get us out of here. What they're doing is 
called an Ellis Act Eviction. Under 1 979 California law, 
a landlord can go out of the rental business completely, 
and that way he doesn't have to face the rental laws of 
the local districts. I don't think it'll work, because it's 
retaliatory. In terms of the relation to the thing on a 
whole, the Mission's gentrified. Everybody's as mon- 
eyed right now, I would say, as your Pacific Heights, 
Lower Pacific Heights. You have flats going for 
$650,000 to $750,000, comer lots for a million. It's 

MRR: What was the racial and economic makeup 
the Mission five years ago, and what is it now? 
Jimmy: Five's hard. Ten years is easier, because gentri- 
fication is such a slimy slow process. It's real fast — 
once you look back on a decade and go, yeah, we blew 
it — but it's really slow, it's like one house at a time, and 
pretty soon everyone has condos. With rental property, 
rents go up, there's less transient freaks who do speed 
or drink all night. And those are the cool houses, 'cause 
those are the people who are like, "oh you have a band? 
Come up Saturday night," and they have two kegs of 
beer. That shit's fun. Most of that entire scene's gone 
from the Mission District. They get in shiny cars, I don't 
know where they drive to. but wherever they drive to, 
they really should live nearthere. There's a lot more big 
SUV-type vehicles cruising around really fast. I think 

it's pretty much a done deal. I think — anything short of 
an earthquake — there' s not gonna be too much that can 
reverse the economic takeover that's happened. This 
police officer did a couple year run where he set up all 
these Latino owned bars. This was one of them, the 
Seven Gold Coins Club... 
MRR: Mission 

Jimmy: Yeah, and this 
one was one of the first 
to go, for sure. They 
just use the excuse that 
drugs are being done 
on the premises, for a 
lot of these places. A 
habitual drug place. 
Come on, I've worked 
in bars for close to a 
decade. Every bar is a 
place of habitual drug 
use. Every bar has a 
coke head, or a speed 
freak, or a heroin junk- 
ie. It's just that some of 
them have money, so 
they hang out in bars in 
Downtown. But 
they're still fucking 
high as hell. 
Chris: Someone got 
shot here, that's why 
they closed this one 
down. That's why it 
was empty for three 
years, but I'm allowed 
to rent it as something 
other than a bar. They 
killed the liquor li- 

Jimmy: Just because 
someone got shot 
here? Did the owner 
shoot someone? 

Chris: I don't know the whole story, but that's what 
I was told. There were bullet shells in one of the walls 
we tore down. Now they're on our keychains. 
MRR (to Chris): How do you feel the neighborhood 
changing, running a business here? 
Chris: None of the storefronts have really changed. It's 
basically like the big spaces have changed. 
Jimmy: The entertainment zones have changed owner- 
ship. They came in with a lot of white wealthy propri- 
etors to buy up the entertainment zones and the bars. A 
lot of times they threaten these bars, so the bars will be 
selling for 25% to half of what they were valued. They 
also changed all the parking restrictions from being 
Latino owned and operated. You could only park on 
Mission till midnight, after midnight you get a ticket, 
after 2 AM it was a towaway. So if you went into a bar, 
you got lit, and you got a ticket. And now, it's 4 AM, so 
now they can have their after-hours parties at the 
Beauty Bar, and they can sit in there and giggle with 
each other, and their cars don't get ticketed. In fact, the 
cops drive by real slow to make sure nobody's screwing 
with 'em. 

MRR: So basically, city ordinances change to cater 
to people with money. 

Chris: Well, it was a certain officer, who is no longer 
with us, who was corrupt as far as that whole thing was 

MRR: But the effects of what he did 

Jimmy: It's easy for a city to say OK, 
officer, you're down. You're out, we're 
sending you to the Taraval. I'm sure he's 
doing the same bullshit over there. Busting 
the bars that are owned by the Chinese- 
American families or something. The thug 
needs to be fired, really. 

MRR: You mentioned the groups of freaks who 
drink beer all night, but you've been living in the 
Mission for years. Do you consider yourself part of 
that, or not? 

Jimmy: I don't do speed, but... 

Buzz: He drinks beer all night, and all day. 

Jimmy: I like beer. I guess so. I like staying up all night, 

listening to loud music and tackling each other, and 

having a good old time. Setting off fireworks in the 


MRR: Doyou feel like 
groups of transitional 
freaks, or punk hous- 
es, in low-income 
neighborhoods, con- 
tribute to their even- 
tual gentrification? 
Jimmy: True punk 
houses, I say no. Of 
course, I contributed 
greatly to the gentrifi- 
cation of the Mission. 
I'm a nice person, I'm 
polite, I'm helpful to 
people when they ask 
me questions. So peo- 
ple who do actually 
qualify an area by the 
skin color, they see oth- 
er people in it, and they 
make those people feel 
safe and comfortable in 
the neighborhood. It's 
really nuts, but let's 
face it, they built con- 
dos next to my house, 
and it took us a whole 
three years to really get 
used to it. Ejecting 
large pieces of fumi- 

IJIZSbsiI- -4— Pf- 

1 JgTMrt ll. i 

ture onto their porch, you know, that's a really good 
anti-gentrification move. You have a table-breaking 
party and everyone jumps up and down on the kitchen 
table till it's a bunch of pieces, then you donate it to the 
neighbor's new condo. Then you probably need a new 
kitchen table. I don't necessarily believe or disbelieve 
in property. I try not to get in anyone's face about 
property, because people get so emotional about that 
crap, but I'm definitely at a point now where people 
who are the least bit snitty or hot-headed at all in the 
neighborhood — there's thousands of 'em, especially 
on the weekends — I'm quite rude to them. I won't get 
out of the way on the sidewalk or anything. I don't really 
want to make them feel comfortable here at all. They're 

so goddamn in their own little world, they 

don't even hear you Kudos to them It's 
* really weird. I don't know where these people 

come from, either. I have no idea where they 

were raised. They have zero morals or codes 

of respect. 

MRR: How does this relate to your band? 

Is this something you've sung about? 

Paul: Isn't this the kind of stuff you saw 
happening in your hometown in Illinois? 
Jimmy: Yeah. That's why the tour sucked, is because 
there's no gas stations that sell tires. All gas stations sell 
is gas and Twix, you know. 
Chris: Cause they're all the same gas station. 

Buzz: I've seen the same thing happen even in my 
hometown. On a different level, of course. I'm from a 
town in Delaware called Newark. When we went 
through there on this tour, it was all strip malls. Any- 
thing that was remotely cool about the town has been 
torn down — now it's Starbucks and strip malls and 
things like that. It seems like it's happening every- 

Jimmy: There are so many corporate places coming in. 
It's really distressing. 

MRR: Coming back to the idea of community, how 
do you preserve either a punk community or anoth- 
er one, in the face of that corporate change? 
Jimmy: I don't want to be a part of the corporate 
community. Stockbrokers can go hang out with stock- 
brokers. That's fine, if people think it's OK to trade 
shares of a company while people are getting laid off — 
hey, that's your business. I'm sure you're entitled to 
your 30% return on your investment, while everyone 
else in the world starves. Or, it might just be fake 
money, it might not be worth jack shit. 
MRR: Do you think that if you wanted to, at some 
point in the past, you could have ridden the coattails 
to fame, to MTV? 

Jimmy: I don't think they'd like our ideas. There's no 
reason to really become the mainstream. 
Buzz: I think maybe it could've happened, if Jim 
changed his song subjects, maybe sang about... 
Paul: Gettin' laid and smokin' weed. 
Buzz: Yeah. Have you seen MTV lately? 
Jimmy: There are (Shotwell) songs about gettin' laid 
and smokin' weed! Actually. ..I don't think I've ever 
written a weed song. 

MRR: Do you think it's the actual content of the 
songs, or more how you live your lives that's incom- 
patible with the MTV thing? A lot of bands that no 
one would have ex- 
pected to get to that 
point, because of con- 
tent, did. 

Chris: Rage Against 
The Machine. 
Buzz: Rage Against 
The Machine, their mu- 
sic kind of appeals to a 
macho, frat boy crowd. 
What they're singing 
about is great. I'm not 
trying to knock them at 
all, but these people are 
into going out there and 
beating the shit out of 
each other, and they're 
not even hearing what 
they're saying. 
Paul: Does the end justify the means? Them singing 
about something worthwhile? Do you think those kids 
get anything out of it? 

Jimmy: I think they're really sincere in their politics. 
Like maybe them and the Beasties, are the only bands 
coming around right now who really did put their ass on 
the line with their money, where it counts. They fund 
really cool grassroots social shit. I don't know why 
Sony did such a strong push for Rage Against the 
Machine. They had a huge media blitz. You can sell 
anything. If I took like a quarter of a million dollars, 
even $50,000, and I put Shotwell ads all over the place, 
on MTV... 

MRR: Well, that's right. You can sell revolutionary 
ideas, so...why not? 

Paul: 'Cause after all, isn't that what you guys are all 
about, just selling the revolution anyway? 
Buzz: If you watch MTV, it's really all about tits 'n' ass. 
Jimmy: It's always portrayed in a voyeuristic way. 
Men's sexuality is always confident and strong. And 
almost all the videos — I'm absolutely certain that, like 
Chumbawamba videos, break from that mold — but in 
90% of it, if not more, the females are always running. 
Even like the girl rocker thing, where the girl is sup- 
posed to be portrayed as this strong, feminist rocker, 
they always portray them as subservient or subdued by 

That whole Woodstock thing, it's like the com- 

mercialization of rock — how far are you gon- 
na take it— $150 tickets? That's absurd. You 
pay $150 at Woodstock, and you have this 
generic rock show in the midst of this "Con- 
sume! Consume! Consume!" And after con- 
suming for a little bit of time, you're gonna 
start to feel kind of ripped off. And the rapes that 
happened there this year, well, rape is rape, it's male- 
dominant motives, and "1 feel so privileged, I can take 
anything 1 want " It's fucked up. Society does almost 
nothing to address the problem. They just do punitive 
damage after they catch someone. With the numbers 
what they are, they really should have counseling with 
almost everyone in high school. Not necessarily to 
screen out people, but to screen out a hatred and a 
propensity toward dominating other people. 
MRR: Do you think that's intensified by being in a 
group of men? 

Jimmy: Yeah, have you ever smelled that? Like, you 
could be at a riot with a bunch of cool anarchists, and 
they'll be really sweaty and hectic 'cause you're run- 
ning like a motherfucker, and it has this kind of sweet 
aroma. Like at the Rage Against the Ma- 
chine shows — it's this thick kind of bitter, 
sour, acrid smell that burns your nose, it's 
like the high school shower room. I think 
there's a lot of shit pent up inside of it. A 
lot of anger, hostility. It stinks. 
MRR: I think that's something that 
women learn pretty early on, that — 
especially with teenage boys — if you see 
one on the street, they're likely to be too 
afraid to do anything. But if you see a 
group, you should be more afraid, be- 
cause they have things to prove to each 

Jimmy: It's chickenshit. That whole ideol- 

MRR: But it is a strong social ideology. 
That's a motivation for a lot of people 
even to go to punk shows. 
Jimmy: Before I got old and locked up my 
calf, I used to really love going to shows, 
and I'd go to shows to dance. But 1 only 
remember like two or three people getting 
hurt, at hundreds of shows. Even if some- 
one was a total asshole, you didn't do the thing where 
they do a stage-dive, and everyone moves out of the way 
and then laughs at 'em on the ground. People just 
weren't really into that. I haven't been to a show in SF 
where anyone was really trying to hurt anyone too 
much, but then I go to see friend's bands and stuff like 
that. I don't go see No Use For A Name or anything like 
that where it's — that's another scene. 
Buzz: I've been to plenty of shows where large groups 
of people are potentially trying to hurt other people. 
Especially back East. I haven't seen it so much at the 
shows here. I think a lot of people in SF have their eyes 
a little bit more open to certain things. 
MRR: Doing this for five years — not in terms of 
idolization or fans — but a lot of people have been 
through Shotwell who are really active in the punk 
scene. Creatively, mostly — writers and musicians — 
people who do shit. What kinds of things have you 
learned from other people playing in this band? 
Buzz: I've learned a lot from the former members that 
I haven't even played with. I value all of them as great 
friends. It amazes me — everybody that's played in this 
band are really great, interesting, intelligent people. 
Jimmy: We've been pretty lucky, you know. 
MRR: It seems to me that the set-up of this band 
seems much less locked in. Chris, you're drummer 
number seven. 

Chris: I'm taking this band down! It's been weird, 
playing and looking in the crowd and seeing three of the 
old drummers watching. 
Paul: And all ten bass players. 
MRR: Do you feel judged? 

Chris: Sometimes I feel judged. Sometimes it makes me 
nervous. Other times I'm glad that it's like that 
Buzz: The first show 1 played with Shotwell I felt pretty 
nervous, but everybody's really friendly with each 
other. We've all been in the line up. so it's not that big 


of a deal. 

Jimmy: Yeah, it's not like anyone who ever got out is 
really itching to get back in. 
Chris: It's always after tours that they quit. 
Jimmy: The tours are hard. 
Buzz: Jimmy, drinking whiskey all the time... 
Paul: Driving over curbs... 

Jimmy: I didn't drive over it. I drove into it. It was 
huge — it was a 23 inch curb, for chrissakes. 
MRR: So you do what, three covers? An Avengers 
cover, a Dead Moon cover... 
Jimmy: ...Mission of Burma. The thing is, a lot of the 
time when we do covers, I don't know if we screw 'em 
up, or what happens, but since the songs were written a 
long time ago by other people, the lyrics will change. 
The Avengers song didn't — it's always been one of my 
favorite songs. I thought that not that many 
people knew it, but tons of people know that 

MRR: Which is funny, 'cause it's not on 
any of the albums, it's on the "Rat Music 
For Rat People" record. 
Jimmy: I used to hate bands that did covers. 
I thought it was the dumbest fuckin' thing in 
the world. 

Buzz: A lot of people do a lot of bad covers. 
MRR: Why do you do covers, then? 
Buzz: Cause we can't write our own songs. 
Jimmy: Sometimes you write a song that just 
sounds like another song you've written — I 
guess you might call it a rut or something. A 
lot of times, it's funner just to play something 

MRR: Do you write all the lyrics? You sing 
back up, Buzz — do you write the vocals 

Buzz: I haven't written any lyrics. 
Chris: Jimmy just makes 'em up on the spot. 
Jimmy: We try to write lyrics together. Carl 
and I wrote some really good songs to- 
gether that'll be on the No! Records thing. 
MRR: Carl, the stuntman? He jumps out of 
planes and shit? 

Jimmy: And pisses on cops' legs, yes. 
MRR: How did you end up in this band? 
Buzz: I came to see Shotwell play here (at Mission 
Records), actually. 

Chris: Jimmy asked if we knew any drummers, and 
we had about three practices, and that was about it. 
Buzz: There was that one show where we had no 

Jimmy: No drummer show? 
Buz/: Yeah, it was when Ivy left the tour. And Iggy 
wasn't hack yet. 

Jimmy: There's probably only like ninety good 
drummers in the whole damn world... 
Buzz: Chris rocks. 

Jimmy: ... and we've played with seven of em. All 
of the drummers have had pretty good arrangement 
sensibilities too. 

MRR: Have you ever thought about having a 
Shotwell reunion show, with every member al- 
ternating instruments? 

Buzz: But Shotwell never broke up, so there's not a 
reason for a reunion show. 
MRR: They would all be current members. 
Jimmy: Yeah, they kinda are. And I'd still play 
music with all of 'em. 

MRR: So what era, what lineup, is on this upcom- 
ing record? 

Jimmy: I think six of the songs will be with Carl and 
Iggy and I. And some we just recorded yesterday. 
MRR: How many members of Shotwell have ac- 
tually lived together? 

Buzz: Everyone lived with Jimmy at one point. And 
then when they get kicked out, they're out of the band. 
Jimmy: What's up with that? 

Buzz: When they can't pay rent on the laundry room 

anymore, they have to fish out some new guy. 

Jimmy: Sometimes when you live with someone, it's 

easier to write songs, 'cause you sit in the kitchen with 

guitars and amps and stuff. 

Chris: Breaking furniture. 

Buzz: Breaking furniture! 

Jimmy: When you run out of chairs, it's "oh, let's write 

a song now." The only thing we don't break is guitars. 

MRR: You said you weren't sure if you believed in 

property or not. 

Jimmy: Yeah, but I mean, there's sacred stuff. 

MRR: So ultimately, what's the point? 

Chris: Of playing in this band? To have a good time. 

Buzz: To free the rock. 

Chris: To make sure the rock gets out there for the kids. 

Jimmy: I don't care about the kids. The kids have music 

coming at them from all angles. Music can be a test, or 

a big thing. We seem to have a societal obsession with 

control, and the nature of control — so, I don't know if 

it's something that people are really that concerned 

about, but I think it's pretty important stuff. 

MRR: If you feel that society has control over you, 

then isn't it important to have an obsession with 

control over your own life? 

Jimmy: Oh. but society has no control. I think we're 

pretty free. It's dangerous — it's a big prison culture, 

and they have a lot of cells yet to fill, so people need to 

walk tight, straight lines. People are scared — it's very 

limiting, the creativity that society will receive in that 

type of controlled environment. We're lucky, to see 

how it's actually constraining. A lot of people, they 

don 't see it. Or maybe they're lucky. Just going through 


MRR: Do you feel like you are doing something? 

Buzz: Yeah, maybe not enough sometimes. But I think 

we're trying. 

Chris: I try to. but I get to sit here behind the bar all day. 

MRR: So, who are your influences? 

Buzz: Fuck off. 

Contact Shotwell do No! Records, PO Box 14088, 
Berkeley, CA 94712 





Interview by Mike(y) Hopscotch 

■ Spread design by Brian Hand Held Heart] 

vli Okay so lets start off with traditionA" 
give me your names and what you do in the baS 

LAndBot «*i.M^jiSan-K • 

and he's the drummer 

5/99 1 

M: Jake was unable to come on tour with us 
due to some personal legal problems. 
MRR: Some problems with the law? 
B: You could say that, (laughs) 
MRR: Now you guys get a lot of com- 
parisons to BORN AGAINST, and 
people say you're a BORN 
AGAINST rip off, how do you 
feel about that? 
M: Well I think the problem is, is 

(that were a band that can't be 
Jk ^^^ categorized because were not 
ffl t ^^k "emo", were not 

■ I ^H "powerviolence", were not 
I " "grind", basically we're just a 
' ^H straightforward hardcore band 

# B 'that plays midtempo punk, and 

A W ,: I think a few years back there 
^^JM . was a scene of bands playing 
this style of stuff we're playing 
most notably BORN 
AGAINST. So I think because 
people aren't able to lump us 
into a category they make that 
comparison, personally I don't 
think we really sound like 
MRR: Lets 
talk about your 
guys artwork, Sam 
Mcpheeters and Neil 
Burke do all of your art- 
work do you think that 
adds to the BORN 
AGAINST comparisons? 
O: Yeah, it definitely does, being that its 
on Vermiform and he does all the artwork 
and Hail Mary is a religious kinda. You 
know kinda like Born Against so I can 
see why people lump it all together. I 
don.t think musically it sounds like 
Born Against. 

B: I think its just easy to say so when 
someone does.t have anything else 
to say, they make that compari- 

MRR: Your first record was 
on Prank, and Vermiform 
and Prank are both dis- 
tributed by Mordam and 
you've got bands like H i s 

Hero's Gone not doing records on 
Prank anymore because of Mordam, 
how do you feel about that? Do you 
guys have a problem with Mordam at 

O: I didn't even know about that. 
M: The only thing that is bad about Mordam is 
the fact that Mordam caters more to stores.. 
MRR: Like bigger chain stores? 
M: Well not even bigger chain stores, its just 
that I think that Mordam is designed to sell to 
stores, and I wouldn't say bigger chain stores 
cause I know a lot of independent stores make 
up the clientele of Mordam. I would say at least 
to my knowledge that the smaller percentage 
of sells are to the bigger stores. And the 
bigger stores that are buying stuff from 
Mordam are buying stuff from Lookout and 
labels like that, they're not really buying the 
stuff on Prank and Vermiform that stuff is 
ending up in smaller stores. But the problem 

is, is that you won't really see Prank and 
Vermiform stuff in distro boxes, which for a 
band like us is primarily the scene were part of. 
I think ultimately it affects us in the sense of 
who were actually reaching. 
MRR: Well if you go on the internet, to 
CDNOW.COM, they have your guys 

O: Really! No way. I don't like that at all. 
M: Well that sucks, I mean I know it sounds like 
a copout but that's something I wasn't aware 

MRR: I just found out about it the 
other day. 

M: I guess the otherthingistoo, isthat 
when you have other people do your 

stuff you don't really have the con- 

trol. In many aspects you forfeit 

control, I mean you have 

control over what your going 

to create but not how its 

going to be dispersed 

and that kind of 

sucks and we've 

kind of real- 

i z e d 

that that 
can be a very 
bad thing. But I've 
done records with totally DIY 
labels and we've gotten ripped off, 
basically the people we've done records 
with are people we are friends with it just 
happens that some of them have bigger la- 

MRR: Do you think being on Vermi- 
form ever works against you, in that a 
few years ago was their hay day of 
putting out hardcore records and now 
that they put out more experimental 
stuff you guys kind of get over 

M: Yes definitely, I think that if we had done 
stuff on Vermiform maybe six or seven years 
ago it would have been a lot different then it is 

B: I kind of like how the other stuff they put out 
is a little more challenging and not so straight 
forward and that it's something that a lot of 
kids are afraid to get into cause it doesn't cater 
to the specific thing that they are suppose to 

M: That's actually one thing I do like about 
Vermiform is that if Sam likes something he'll 
put it out. It doesn't have to fit a certain style 
of music. If he's into doing something he does 

it for the simple fact that he's into it. 

O: He doesn't seem like he's worried about 

taking the loss. 

MRR: Okay lets change topics a bit, 

Mark being the singer and being a gay 

male in a scene composed mostly of 

straight white kids, how does it effect 


M: Well, I guess it's kind of... 

O: Wait a minute, Mark your gay? 

(everyone laughs) 
M: Oh did I forget to tell you? Seriously though 
I think that there's a lot of bands that try to 
platform on that and try make really elaborate 
speeches. And take this issue of being gay but 
they only have like one gay member, which 
can be a good thing but if you're just doing it 
to make your band more popular then that's 
lame. That's why when I write lyrics I don't 
write specifically gay stuff cause none of 
these guys are gay. And the position of writing 
lyrics is basically representing everybody so 
the stuff we try to make stands on is stuff we 
all agree on and relate too. One of the things 
I do have a big problem with and not enough 
people are calling them on their shit is a label 
like Tooth and Nail records which is like a 
Christian organization, a Christian 
record label and they're 
spawning this big 
scene of Christian 
hardcore. And we 
can't forget that they're 
main thing is that they're anti 
gay and pro life. And no matter 
what they try to hide behind, that's 
their hidden agenda and main objective. 
For instance take a band like Frodus 
there's members who have Christian 
tattoos and they're on Tooth and Nail records 
and we just played a show with them and they 
said they were Christian but they're not Chris- 
tian anymore. And it leaves me wondering why 
are they on this record label which is a Chris- 
tian label if they're no longer Christian. And I 
think it ' s a copout to be on a label like that and 
say "but were not Christian". Cause if 
you're on a label like that then you're 
supporting whatever fucked up ideology 
that goes along with it. In addition that 
label is the furthest thing away from a diy 
anyway cause you operate under con- 

MRR: Do run into any other 
kinds of homophobia in the 
punk scene at shows or whatever? 
M: lt,s a tough question to answer cause one 
of the things you realize being gay is that about 
90% of the people who find out that you are 
gay right away look at you differently whether 
it's a better way or worse way they still do. 
Most of the people you come across if they 
don.t already know you're gay once they find 
out they sort of act different towards 
you. So I definitely think there'; 
lot of people who are ha 
mophobic in the scene. 
O: Its funny though be 
cause it's also really cool 
to be gay in punk and 
hardcore. There are a 
lot of bands that are 
really popular because 
they have one or two 
gay members. I meai 


they re are some really genuinely awesome people who happen 
to be gay that are really popular people because they are really 
great people. But it has something to do with the fact that 
they re out there and they're gay, and that's a positive thing but 
at the same time it's a negative thing, cause it sucks when 
someone's like: I'm going to buy that record 'cause that guy's 
gay. Lets get the Hail Mary LP cause that guys gay. (laughs) 
But someone like Martin who is gay but he's possibly like 
one of the most amazing people I have ever met, and he's a 
great role model, so it's awesome that 
there is people like that. 

M: That reminds me of another reason that upsets me about 
Christianity being 

in hardcore, I mean first of all I'm against any religion getting 
into hardcore. The problem with Christianity is, is that hardcore 
was always this place that I could escape from being judged and 
persecuted by society, it was a place I could be accepted And 
I see these outside forces that I've been trying to get away from 
and now they are trying to get involved in punk. I think back to 
when I was 1 4 years old and I didn't know anyone else who was 
gay or had any gay friends and I was really depressed and 
isolated. And I didn't really feel like I had anyone to relate to or 
turn to, so for me, I was able to turn to punk and feel accepted 
and make friends. Now I see these Christian bands getting 
involved saying under a veil that its not okay to be gay and 
that's bullshit. I don't care what anybody says no one 
is just going to one day say I want to be gay, 
because I want people to hate me and run the risk 
of getting beaten up. Its such bullshit, these religions ■ 
try to make you ashamed of your body and try to make 
you ashamed of things that are natural things to do just for 
the sense of control, just to have control over people And it 
just sucks cause you look at how high the suicide rate is for qay 
teens and its really depressing. 

MRR: Yeah, I've noticed that a lot of your lyrics deal 
with religion. 

M: Well yeah, but it varies. There's even lyrics that have to do 
with certain relationships I've had, that are written vague 
enough that they can apply to relationships any of us have 
had, like a bad relationship... 
O: Yeah, everyone's had a bad relationship. 
MRR: Okay here's a question for Ben 
and Matto, Hail Mary has had an 

awful lot of members, like 17 or something like that. 
Is Mark a hard person to get 
along with? 

O: It's funny because I've known Mark for awhile and for 
sometime I'd say we butted heads a lot. But it's not as bad as 
everyone said it was going to be. 

Hail Mary has had so many line up changes and he's been 
dealing with so many different people that Mark is a lot more 
o p e n to doing different stuff now. Like I've just done simple 
things like playing guitar in different tunings and 
stuff that everyone told me you can't do that 
with Mark! (laughs). And some of those 
people who have been in the band 
have been temporary and they knew 
it at the time, like just doing a tour or 

B: Well, I think people generally as- 
sume that Mark is like this dictator 
guy who kicks people out, but a lot of 
times people are just in it for a tour or 
something. I'm confident that I'm not 
going to get kicked out or something 
just on a whim or whatever. I feel 
especially since Matto and I have 

playing and Jake's been in it before 
us that it feels much more organic and 
that kind of would be an answer for 
what I want to get out of the band, to 
have fun and grow and progress. 
MRR: So your LP just came out 
what do you have coming out 
M: Well we got a limited edition 
ane sided etched 7" coming 
out on Hand Held Heart, and 
a new 7" coming out on 
*' Hopscotch. As well as a 
comp track on the ABC NO 
RIO comp, a song on the 
Vermiform comp, and a song 
on the Hopscotch comp. We're 
also going to be doing a split 5" 
with DEVOID OF FAITH on Coali- 



"Glorious Morning" EP (Prank) 
"Crashing Down" EP (Vermiform) 

." M .Y ^" To Die ls Dead " EP CVermiform) 

All Aboard The Sinking Ship" LP (Vermi- 

Hail Mary PO Box 14253 Albany, NY 12212 


MRR: Could you give me the band's history? Introduce 
yourselves a little. 

AP: The band began about 3 years ago, and has had 

numerous lineup changes. This current line up has been 

together for about a year (aside from the rotating drummers 

that we've had). Since the band functions as a collective 

(and a smaller part of the Crasshole Collective/Maryland 

APF), we don't really like listing all the names of the 

individuals involved. There are people who are considered 

members of the band who do not participate directly in the 

creation of the music, but who help out with the work 

involved. Listing their names and trying to define their role 

by the traditional standard would be far too complicated. , 

MRR: Why did you choose the name, A//Political? 

AP: The name is both an ironic pun and a rejection of the 

classic left-right dichotomy of authoritarian politics. The pun 

comes from the trend of "apolitical" music in the punk scene 

which realistically does take a political stance (which all too 

often is incredibly right wing). Our "apolitical" stance is all 

rejection of the accepted political norm of political parties,S 

elections, and working within the system. We are a 

revolutionary anarchist band that seeks to create a new 

society rather than repeat the mistakes of the old. 

MRR: Why did you start a band? Do you think playing in 

a band is a good means to explain/expand your 

(anarchist) ideas/feelings to a lot of people? 

AP: The band is very much a tool in a greater movement to 

expand anarchist politics to a larger community. At the same 

time, it is a celebration of our anarchist politics. The 

American punk scene has become very reactionary. Bands 

who do take political stances are often slagged off and 

attacked by "anti-pc" chaos punks. A climate of fear has 

developed where political bands are afraid to express 

themselves for fear of rejection. We want to change this and 

make politics synonymous with punk again. We want to 

make people stand up for their political opinions instead offjj 

hiding from the anti-pc hysteria. 

MRR: You have a song Punk is a Ghetto in which you 

say, "Punk isn't everything/Punk is a ghetto/ 

Revolutionize the world/Not just your scene." I totally 

agree with that and I think it's a shame that so many 

people don't become conscious of the fact that punk V 

does not equal the world. I / \ / 

think they have a shallow s^ 

view of the world, of the y 

problems. They have a view /\ 

through a hole, the punk 

scene. Aren't you sometimes 

under the impression that 

you preach to the-**, 

"converted" since the scene 

is very closed? /1~** 

AP: We fully realize that we are / IS\ 

often preaching to the converted, A j 

but our goals go beyond simply ki 

restating the tired old politicaL. X 

cliches of the past. As the^^£ 

answer to the previous question— J 

said, the punk scene that we 

operate in is often very hostile to 

politics, especially anarchist 

politics. Many times, we are a I 

voice of reason in a scene filled 

with shallow peacocks following "^-T^the latest aesthetic 

trend. However, even amongst the politically aware punks, 

we hope to be an inspiration to act on your beliefs. We want 

people to live by their politics and not just wear them on their 

sleeves. "Punk is a Ghetto" is a call to all punks who care 

about more than the latest fashion trend or silly gossip to get 

out into the world and make their ideals reality. 


MRR: I think there is a theme in your songs. You want 
people to become conscious of the fact that we are all 
responsible for the present situation. So in the song, It's 
Not About Politics, It's About Life, you say, "The system 
does care because the system is you/Nothing ever 
changes because that's what you choose," and in 
Sickness, you say, "This is your world. The one that you 
made." How can we change the mentalities, succeed in 
making people think about that, succeed in becoming 
conscious of the fact that they can change the situation, 
that everyone can act on this situation? Do you think 
that through your songs/lyrics you can make people 
think about that? 

AP: Of course we are not naive enough to believe that 
everyone who hears our lyrics will be inspired to become a 
political activist, but we have a gotten a positive response 
from many people who are inspired by us. On a larger scale, 
bringing about an anarchist society is a process which 
begins with a personal revolution. First, a person must 
change themselves and their world view to one based on 
non-hierarchy and mutual aid towards others. Then, when a 
that person interacts with others in a manner that is non- 
authoritarian, she/he will serve as a model that people don't 
Jltve to be competitive and exploitative. Eventually, enough 
people can bond together and begin to create 
cpunterinstitutions based on their anarchist beliefs and the 
social revolution begins in earnest. As far as our role as a 
punk band in this process goes, we hope to be the catalyst 
for both the personal change and the organization with other 
like-minded individuals. Our own lives serve as a model for 
this process in that we have made the personal change 
(although personal change is a lifelong process because 
none of us are bom anarchists and it takes constant 
vigilance to reject years of socialization), and we have 
organized together into a collective (which reaches beyond 
the band) to try to change the world that we live in through 

MRR: Is there unity in the punk seen She anarchist 
movement in the US? Maybe it's not easy because of 
the distance between the cities. J 
AP: The punk scene is too broad a categorization to have 
any K type of "unity." There are too many different social 
j movements that fall under the 
„,V f^sS category of punk which have 
V/l'l^jv serious irreconcilable 

*54bm^\Tv ^ erences ,o trulv unite 

W.\ everyone who considers 

her/himself a punk. On the 
question of the anarchist 
movement, there is always a 
great hope that there can 
be some sort of large 
federation of anarchists. 
However, currently, much 
of the movement is bogged 
^ down in petty ideological 
fK / squabbles (such as 
$£/ individualists versus 

collectivists, anarcho- 

- communists versus 

anarcho-syndicalists, etc.) 
which are counterproductive 
to the overall goal of 
achieving an anarchist society. We believe that some of 
these issues may be worked out in the actual formation of 
an anarchist society rather than dividing us while 
governments and corporations rule our lives. It is absurd that 
some anarchists reject cooperating with others because they 
don't take a strong enough stance on animal liberation or 
because they do not oppose technological development, etc. 

"IV:>IINCcl//Y - MEIIAclEIINI cIclH - "IV:)IIHOcl//V - MEIIAclEliNI 


We should be enhancing our strengths rather than pointing 
out our weaknesses. On a more positive note, there was a 
recent gathering in Massachusetts of members of the 
Atlantic Anarchist Circle to try to organize what appears to 
be a federation. Unfortunately, we could not attend because 
of a previous commitment, but we hope that a real 
federation will arise from this which we will be a part of. 
MRR: I read that the Crasshole Collective has an e-mail 
address, so maybe news/information will spread even if 
other collectives are far away. What do you think about 
the internet and all these new forms of communication? 
AP: There are several members of the Crasshole Collective 
who have e-mail addresses, and we may be contacted at 
any of them (addresses at the end). We don't take a 
particular stance on technology itself. Clearly, corporations 
are exploiting technological development just as they have 
exploited everything else on earth. However, technology is a 
benign force, it may be used for good as well as evil. The 
internet is in many ways a very anarchist institution. 
Although corporations are quickly cashing in on it, it is still 
somewhat decentralized and very hard to control and 
regulate. It creates a space where everyone is as equal as 
the next set of letters on their computer screen. It also 
serves as a great way to communicate to a large number of 
people quickly and inexpensively. An anarchist homepage 
may be viewed by millions of people some of whom will 
undoubtedly agree with our message and become 
anarchists themselves. It also allows us to get in touch with 
our comrades in far away places more efficiently than writing 
letters or even telephone calls. Most important is the fact 

that the right-wing has been us 

tool; and if we do not counter 1 

MRR: Could you explain th 


AP: The APF began as a wa 

punks into a larger federatic 

i internet as a recruiting 
i will surely suffer, 
(why did you start it, 

organizing active anarchist 
There are hundreds, even 
thousands of anarchist punks in the world who are working 
on changing their little corner of the world. 
We wanted to create a way for all of us to 
communicate and to feel like we are not 
alone in the world. The main goal of the 
APF is to make anarchism a viable 
movement within tnie punk scene. We 
want anarchist punks to be more than a 
slogan on a t-shirt. We want to create a 
real movement which can be an important 
part of the larger, worldwide anarchist 

MRR: What are your activities outside { 
the band? 

AP: Some members of A//Political are in J 
school, some members have jobs, and] 
some members do both. Aside from 
doing what we must to survive, we are] 
involved in a variety of projects. 
Obviously, there is the Crasshole and the j 
APF and the projects that come with i 
them. However, we are not limited! 
to those activities. Individual! 
members of the band work withj^ 
Social Anarchism , a long running t§|\ 
anarchist journal; the Maryland |j»^ 
Animal Liberation Network (MALN); *2UW»» w ^»\v»i.'.'B»*« i „T>» 1 ...i 
and the Industrial Workers of the World. We've also recently 
just started work on opening an infoshop in West Baltimore. 
We hope that our own activity shows others what they can 
achieve if they put a little effort behind their opinions. 
MRR: What are your musical influences? Your favorite 
AP: The band has been compared to every mid 80's 

anarchist punk band imaginable. Of course, these bands are 
probably the biggest influence on us, but our personal 
musical tastes include much more than that. Besides the 
typical anarchist punk bands, members of the band listen to 
80's pop, hardcore, emo, goth, techno, folk, jazz, and even 
classical music. It is important to not limit oneself to a 
particular genre in order to not get stuck in a rut. The beauty 
of the early 80's peacepunk movement is that the music was 
more than just 4 piece bands playing 3 chord punk that all 
sounded the same. From the experimental poetry of Annie 
Anxiety and Andy T to the free jazz of the Cravats and the 
Ex to the pre-techno of Hit Parade to the pop music of later 
Poison Girls and Omega Tribe, the bands that are 
associated with anarchopunk were extremely diverse. We 
support that kind of diversity, and will be putting out a variety 
of musical styles on Crasshole Records (future projects 
include the industrial style of Luddgang, a 6 piece all- 
percussion band, and acoustic folk music by Against Me!). 
jMRR: Have you played many gigs? Which bands have 
you played with? Is it easy to organize gigs in 
Baltimore? Is it easy to tour the US? 
AP: We've played about a little over 30 shows since the 
winter of *97. We've played with a bunch of local bands and 
better known bands like Anti-Product, Huasipungo, and 
Submission Hold. We also played a show with an anarchist 
hip-hop group called Critical Mass. It is not that hard to 
organize gigs in Baltimore. The toughest part is finding a 
regular space that will allow us to do shows. All too often 
punks will fuck up venues or venue owners/managers will 
not want to do deal with us. It's also expensive to rent halls 
for shows because we often don't get enough attendance to 
cover all the expenses. Organizing a tour is a hard work 
unless you're a well known band. There are always people 
willing to get you a show, but attendance can vary 
depending on what night of the week you play and where 
you play. Finding places to stay and the like can also be a 
bit of a chore. Ifs really a lot of hard work, but it 

comes with the territory. 
MRR: DIY seems to be important for you, 
right? What is DIY for you? Give a 
definition, what you think about this 

AP: DIY is simply a reflection of our 
anarchist ideals. We believe that people 
must take back all aspects of their lives from 
economic and political institutions. DIY is just 
one more method for doing that. In relation 
to the punk subculture, DIY means that we 
do not rely on others to dictate what our 
culture should be. We strive to create our 
own music, our own magazines, our own 
fun, etc. We don't want to be told what we 
are supposed to like. We want to make that 
judgment for ourselves. It also gives us the 
control that everyone should have over our 
culture. We get to define what it means to be 
a punk because we are creating what it 

iw/POI ITICA I, fer«irr:£ 

^ x **- •* u •* anarchism a reality to work to break 
:;w-;v-.'.f,~,.rM-^.n>.fc5v7Si^ :? V.--away from prefabricated, top-down 
cultural forms imposed on them by people who only seek to 
profit from and/or control us. 

MRR: In the song, Education is Indoctrination, you 
criticize the school/education system. Are there 
"alternative" schools in the USA? In France there are 
two "libertarian" colleges and one "anarchist" school. 
AP: Education is clearly a means of social control. Students 

"IV:>liriOcl//Y - MEIIAclEIINI cttlN - ■|V:>liriOcl//V - MEHAclEliNI 


are taught a limited amount of information and skills based 
on what the people in power desire from the population. The 
US does have "alternative" schools, but they are often 
private schools which most ordinary people cannot afford. 
You see, intellectual freedom and the opportunity to explore 
the world are luxuries that only the rich and powerful are 
allowed to enjoy in this country. Public schools are run by a 
state standard which is vague enough to allow for a variety 
of academic standards based on the funding individual 
schools get. Each school is funded by property tax revenues 
from neighborhood that it is in. This means that schools in 
wealthy neighborhoods get the most resources and schools 
in poor or working class neighborhoods do not. This allows; 
the education system to maintain the social stratification 
system in place in the US. Jonathan Kozol, a former teacher 
in the Boston schools, has written a couple of books on the 
inequality of the American educational system. Some 
activists have and do work on creating free schools whicre 
function within and outside of the mainstream educational 
system. But, much like other "progressive" movements in the; 
US, but they are far and few between. 
MRR: You say "politics are punk." Are punks really 
interested in politics? Maybe there are a lot of chaos 
punks which you speak about in the song, Stop 
Thinking and Pogo. In France there are a lot of punks 
(even though I don't consider them punks) who are just 
interested in drinking and dancing. It's a shame these 
people give a bad image of the punk movement. 
AP: We say "politics are punk, so fuck you" in response to 
the current trend in the punk scene to attack anything/ 
political as a form of fascism. The anti-pc movement that has 
developed in punk over the last 5 or so years is a sick jokej 
These people actually believe ttiat they are being rebels b^ 
mimicking the prejudices that are accepted in mainstream 
society! What's worse is that they have fallen for a right-' 
conspiracy. You see, the term "politically correct" was u 
in its present sense by the right-wing to try to discredit 
leftist political movements. They took some 
well-meaning liberal ideas and lumped them in 
with a few wacky political movements on 
college campuses and created this myth of 
political correctness. So, anyone who calls 
themselves anti-pc is really just saying that 
they are a conservative (and in our opinion, 
one goose step away from being a Nazi). The 
worst thing is that the punk movement has 
been drained of so much of its activist 
potential by these dimwits who call 
themselves punks yet waste their time 
behaving like frat boys and idiot jocks. 
Where punk once criticized social norms, 
now all it does is legitimize alcoholism and 
petty fashion hierarchies. It's more important* 
to get drunk and look cool than it is to 
question the status quo. 
MRR: What do you think about drugs? 
Are you straightedge? Do you think it 
would be good to legalize marijuana? 
AP: Drug use, that's a very 
complicated issue. On the 
one hand, drug use is a 
personal choice which 
everyone should make for 
themselves. On the other, 



illegal drug trade is a serious problem in the US. Not only 
does it bring with it a level of violence that is unparalleled 
anywhere else in the world, but it serves as an easy 
scapegoat for the prison state that the US is quickly 
becoming. The US has the largest per capita prison 
population in the world and despite the drop in violent crime 
rates it's still growing. This is due to the immense number of 
people being convicted of drug related crimes (use and 
sale). Of course, this may all be part of the government's 
plan because, as we all know, the government itself is the 
largest drug trafficker in the world. They have been working 
in collaboration with drug dealers around the world for 
decades now. Maybe it would be best for everyone involved 
if they would simply decriminalize drug use and come clean 
about their involvement. 

MRR: Speaking of drugs, in the song Free Trade In 
Death you say, "World Bank projects/dealers in death." I 
don't really understand what you mean to say. Could 
you explain this sentence? 

AP: The World Bank is the primary lending institution for 
world governments. It was formed shortly after World War II 
as a way of helping countries destroyed by the war to 
rebuild. However, it has established itself as a source of 
capital for "developing countries." The World Bank does not 
lend money without strings attached, though. Often, they ask 
for governments to make severe changes to national and 
economic policies which benefit foreign businesses seeking 
to exploit "third world" nations. The World Bank promotes 
policies which curtail social welfare spending and encourage 
hand outs to corporations. This, of course, leads to the 
deaths of millions who cannot survive on the meager wages 
that they are given. All of these people are dying because of 
the World Bank's conditions on loans; therefore, they are 
^"dealers in death." It is also important to remember that the 
World Bank's goal is worldwide laissez-faire capitalism 
where the interests of business would come before that on 
ordinary people like us. 

1R: In the song, Idealized Attraction, you 
talk about physical appearance, 
ideal female image, etc. I 
think there is a big business 
around dieting, fat reducing 
products. Could you tell me 
about that? 

AP: There is a major industry 

built around the creation of 

image. Everything from media 

to clothing to pharmaceuticals 

is sold to people (male and 

female alike) simply for the 

sake of maintaining an arbitrary 

body image. It's hard to point 

out exactly which corporate 

element started this cycle, but 

you can easily see when it 

began. About 100 years ago, as 

industrialization and capitalism 

were really getting into their 

stride, companies began to spring up 

the use of many drugs leads iM&fo*^ 
to abuse and anti-social 


behaviors which hurt not just the user. As far as drugs are 
concerned, we have no problem with recreational use; but 
when that becomes a serious habit and starts to interfere 
with one's life, it becomes a serious threat. Clearly, the 

"IV:>IXIIOcl//V - MsllAclEliNI cUIW 



lU\y2iSK®i which preyed on women's 

£ 3 self-image as a marketing 

y& tool to try to get them to buy 


J> products they didn't need. 
■A Of course, the philosophical 

J $ Of course, the philosophical 

—»„«.... «*.,t,v .wxawW-J* basis for this goes back 

«tt^vtn»rt4TO>mK$!* thousands of years. There 

has been a hierarchy of elites and non-elites based on 

appearance. Certain people were given the "luxury" of 
attaining a certain physical appearance which has almost 
always been physically abnormal and often unhealthy. 

■|\':>liriCcl//Y - A\=IIA<ISIINI 


Bound feet, corsets, makeup made from poisonous 
materials are all examples of this absurdity. The modern 
beauty image is equally ridiculous. Women are expected to 
be about 20-30 pounds underweight to fit the western ideal. 
They are not expected to have any body fat except for 
traditional sexual areas such as breasts. There have even 
been studies by so-called scientists which calculated 
attractiveness based on a waist to hip ratio of .7 (which 
means an attractive women's waist is 30% smaller than her 
hips), a virtually impossible achievement. Of course this 
does not just apply to women, men also have an ideal body 
type which society asks them to achieve. However, men are 
given much more social leeway when they do not fit that 
body type. What we have to realize is that aesthetic choices 
are not an objective standard. They vary individually, and we 
must recognize the beauty in that variation. If people were to 
judge each other's appearance based solely on the ideal 
type, the world would be full of ugly people. 
MRR: You seem to be concerned with animal rights. Are 
you vegetarian or even vegan? Are there a lot of 
vegetarians in the USA? In France, vegetarianism Im 
growing, but it's not like in England where a lot of 
people are vegetarians, is there an ALF in the USA? 
AP: Everyone in the band is either a vegan or a vegetarian. 
We all come to a pro-animal liberation stance from a variety 
of perspectives; some ., ethical, some political. Animal 
liberation is a big issue for some Americans, but it is not a 
huge movement incorporating a large portion of the 
population. Only about 2% of Americans are vegetarians 
(which comes to about 5 million people), but ifs safe to say 
that many (if not most) of them do it for health reasons and; 
don't care about the animals themselves. Baltimore is home 
to one of the biggest vivisectors in the country, John's 
Hopkins Hospital and medical school. There have been 
many anti-vivisection protests over the years and the largest . 
crowd they've drawn is maybe 50 people. This is often 
typical of protests for animal liberation. There are active ALF 
groups in the US carrying out actions to liberate animals v 
from abuse by stupid humans. 
MRR: Firearms 
problem in the 
are 36,000 peopl 
year because of 
the firearms lobbi 
very strong, especially the 
National Rifle Association; 
Could you tell me about that? 
AP: America is a country 
obsessed with guns. It comes W 
from a historical tradition of jTy, 
individualism and violence 
which this country was 
founded (really stolen) on. The 
John Wayne/Clint Eastwood 
archetype is built into the 
national conscience. It would 
be unfair to say that everyone |$ 
has a gun, but there is a»- 
significant portion of the 
population for whom guns are as important as their family. A 
large part of why the handgun murder rate is so high has to 
do with the connection between the illegal drug trade and 
violence. Many handgun deaths are due to wars over 
territory and problems resulting from the drug trade. Another 
reason for the high rate of handgun violence is the social 
frustration felt by many young men. They find themselves in 
a position of social powerlessness where they cannot control 
their own lives and turn to violence as a means of 
establishing themselves in their community. This is 
aggravated by the easy availability of guns. The National 









Rifle Association (NRA) is really a whole other issue, 
membership tends to be conservatives who view their gun 
ownership as a cultural tradition from Americas past when a 
weapon was necessary to protect oneself from animals such 
as bears and wolves and criminals. They oppose restrictions 
on firearrns because these would effect their ability to hunt. 
It is true that their political influence has limited the 
introduction of legislation to control the sale of firearms. The 
NRA also has a support base among the militia groups who 
feel that the government has gone too far in instituting social 
welfare policies and other programs which help out the poor 
and minorities. These people actually believe that the 
government is persecuting the right-wing and they need 
guns to fight the liberal regime! That's not to say that the 
government hasn't cracked down on opposition groups, but 
the US government is far from liberal by any means! 
MRR: What are your immediate/long term plans for A// 
Political and the Crasshole Collective? 
AP: Our immediate plans are to work on our newspaper, 
Agitate!. We hope to spread our message of political 
activism and anarchism to the east coast punk scene which 
has become mired in chaos punk stupidity and apathy. We 
want to make anarchopunk a serious political movement that 
other anarchists will respect rather than look down upon. 
Future plans include a discography 2xlp/cd, and possibly a 
couple more 7*s. We'll see what happens after that. As far 
as the Crasshole goes, we will continue to work on the 
projects we already do (Crasshole Records, Counterculture 
Press, and the APF). It looks like the future will bring a lot of 
activity for us. 

MRR: Do you have anything special to say or add a 
message for the readers? 

AP: This was one of the most detailed interviews we've ever 
had. Unfortunately, most of these questions require more 
detailed answers which simply cannot be covered in this 
format. If you want more information on any of the issues 
||aised, feel free to write. If you send some money to cover 
postage we'll send you a bunch of our communiques, past 
y^ v (and cunent) ssues of Counterculture, info on 
the A.P.F., and whatever else 
we've got lying around. PO 
'Box 65341 /Baltimore, MD 
21209/U$A or e-mail 
| . . or 

n . 






-"Planting The Seeds Of 
| Revolution" Cassette/Book- 
let/Badge, Crasshole 
Records, December 1997. 

ibTS^i i "" Propa 9 anda B y Deed " 7 " 

^^StJj^iiiJ^gyi ep, Crasshole Records, 
vr»«v/v M -_ f 'J November 1998. 
BBHHWlIfl V "" Punk ls A Ghert0 " 7 " EP, 
1 JE M B « j /-« B , & Profane Existence/Skuld 
-<«. A a.^ylB.aj .% Re |eases, December 

vvw^K^wma^^ 1 9 A 98 - . , 

- Autonomous Action 
Split w/ Counterpoise 7" EP, Autonomous Action Records, 
June 1999. 

...and the following compilations have unreleased songs/dif- 
ferent versions: 

-"A.P.F." & "Love Is The Basis..." on "We're Here To Ruin 
Your Fun" A.P.F. Benefit Cassette/Newspaper, Crasshole 

-"Seen As A Whole" on "Why Must We Die For Your Sci- 
ence?" 7", Dire/Action Records. 

■iy:>iii"iccI//\' - avsiiacIsiini iiiiw - "iv:)iinoci//v - mehacIEIjlni 

lies are a hard- 
core punk rock-n- 
wrestling band from 
Detroit that's been 
around for a few years 
now. They are infamous for 
live shows that mix punk rock 
and hardcore wrestling. A typi- 

kcal show would include Bubba 
getting hit with a barbed 
wire bat, sever- 
al 8 foot ta- 
V bles being 
people being 
hit with folding 
chairs and then 
lit on fire, and in- 
sane amounts of 
L _ ^^^^^"^ blood and energy. 
r£ *^ The'y have a single out on their 
own label Chairshot Records, 
songs on a few compilations, a 
new single "Diary of a Madman " 
that will be out in October on 
Transparent Records, and a new 
LP titled "The Finer Things In Life " 
that will be out in January on 
fChairshot Records. 

The Bump-N-Uglies are 
"Playboy" Bubba Mackenzie on 
^vocals (PBM), Amado "The Natu- 
ral " ' on guitar (Amado), Rob "The Italian 
Saint " Dziak on bass (Rob), and The Josh 
on drums (The Josh). This interview was 
done by Paul from Transparent Records 
(TR) backstage on Friday, August 28, 1999 
at The Magic Stick in Detroit, before the 
show. [Note: At this show, after some ex- 
treme wrestling, Rob had to get 5 staples in 
the back of his head and The Josh broke 
the edge of the stage off with his head re- 
sulting in a LARGE bump. And it was a 
great, and bloody, show.] 

MRR: Is there anything you don't 
want me to mention. 

The Josh: Do not mention The Josh. Do 
not mention Triple B. My new identity is Dy- 
namic Josh Movado. 

MRR: Is there another Bump-N-Ug- 

PBM: It doesn't matter if there is another 
one. What's your name? 

MRR: I think they're more famous 
than you are. I don't want people to 
confuse the bands. 

PBM: Wait, wait, what's your name? 

MRR: Paul 

NAME IS. And it doesn't matter what their 
name is either because we're the fucking 
Bump-N-Uglies. the most beautiful Bump-N- 
Uglies, and the greatest band that ever 
lived. So it doesn't matter about any other 
Bump-N-Uglies besides these Uglies. Be- 
sides, they don't spell it the right way. Isn't 
that right Mr. Holstein? 

MRR: I read in the Orbit that you 
guys use fake blood? 

PBM: Hey! 

Amado: First of all, it was Jam Rag. 

MRR: Jam Rag, that's right. 

PBM: If I ever find the person that wrote 
that I'll kill him. Or her. 

MRR: But they 
had a picture of you 
with fake blood all 
over your face? 

PBM: They retracted that 
was real blood. 
The Josh: Real blood. 
PBM: I challenge 
any press 
agent, and 
any TV an- 
chor, to 
come down 
to the show. 
And inspect ouj^X* 
wounds after tne show and 
me if it's fake. And if they still 
say it's fake, then we have two 
tables waiting for them. And a 
barbed wire bat. If anyone wants 
to say it's fake, all they have to do 
is come... 

Amado: And Band-Aid's because we 

The Josh: And a 265 pound, flying, 
dynamic, bombastic, individual known 
as Josh Movado. 

MRR: Next question. Can we smoke' 
marijuana back here? 

PBM: Yes. Yes we can. I was hoping you 
were going to ask that question. In fact, it 
was three questions too late. 

MRR: Do you play the Dwarves cov- 
er of '3 Seconds' live? 

PBM: We'll do it tonight. We'll do anything 
for you. 

MRR: So you're recording a new al- 
bum at Ghetto Recorders? 

PBM. Yes. Now let me just give you an 
idea of the . . . bombasticness . . . of the new 
upcoming LP. We spent around 1 8 weeks 
in the studio. 

MRR: 18 weeks? What the Hell for? 

PBM. Ok... writing. 

MRR: Writing. In the studio? 

The Josh: Getting all the T's crossed. Get- 

ting all the I's dotted. 

MRR: When I worked with the Dirt- 
ys, they wrote the songs in their van 
on the way to the studio that morn- 
ing. Then they went into the studio 
and recorded them. 
The Josh: Well that just shows the unpro- 
fessionalism of The Dirtys, then, doesn't it? 
PBM: What he means to say is that we 
spent approximately a day and a half mixing 
and recording. What we've basically come 
up with is the greatest album ever made. 
Bar none. 

MRR: So it is pretty good. Is it more 
about wrestling? 

PBM: It's based on the lifestyle that is the 

Amado. Yes. It's going to be titled The Fin- 
er Things In Life'. 

Rest of band together: The Finer Things in 

MRR: Drugs, wresting, booze, stuff 
like that? 

The Josh: Courvoisier, Movado watches. 
Rob: Beautiful farm animals. 
The Josh: Yes, yes. Expensive Congnac. 
PBM: The life of a rich affluent playboy 
such as myself. 

MRR: Why do they call you Playboy 
Bubba Mackenzie? 

PBM: Everybody knows I'm the true, shall 
we say. . .womanizer of the group. I'm defi- 
nitely the most sexually electric of the 

Amado: Kind of like Paul Stanley. 
PBM: Yeah, you know. The women see 
me on stage and I exude this thick, glutton- 
ous sort of sexuality that just excretes from 
my pores. 

Amado: And it is gluttonous. 
PBM: Being a playboy isn't just sex and 
making love, and wining and dining these 
unimportant women. It's fine cars, expen- 
sive watches, expensive clothing. 


I noticed you all have these 
expensive watches 
on. What's the sto- 
ry? A jewelry heist? 

The Josh: My name is 
Movado, OK? The word 
Movado itself actually 
means 'always in mo- 

MRR: I heard you guys played with 
The Trash Brats. Did any wrestling 
break out? Have you ever wrestled 
another band? 

PBM: No other band has ever had the balls 
to step up to the plate. I posted a chal- 
lenge if you will, on the internet, and basical- 
ly we challenged anyone. No takers. 

MRR: Did anyone see it and reply? 

Amado: They were afraid. Didn't you smell 
it in the air? That smell of urine, all through- 
out the world. They called it yellow Thurs- 
day. Everyone saw it, and in unison, they 
soiled themselves. 

MRR: So how come you guys don't 
get free beer backstage? Don't you 
have demands.... 

The Josh: First of all, I have Courvoisier 
wherever I go. 

PBM: How it goes is.... beer is what the 
common man drinks. We do have de- 
mands, per performance. However, as you 
know, we have opening acts. And these 
bands generally are heathens, they're filth, 
they stink, common boobs, commoners, 
poorhouse welfare recipients (other band 
members are inserting some of these in- 
sults) and we have aged cognac, a deli tray 
with prosciutto and fine Italian cheeses, 
grapes. So we don't keep that back here. 
It's in my bus. We each have a tour bus. 

MRR: Is that your tour bus outside? 
I saw a tour bus. I heard that some 
reggae band was playing next door. 
But everyone I talked to was here to 
see the Bump-N-Uglies. 
The Josh: You know why they're here to 
see the Bump-N-Uglies, Paul? Because you 
can be sure as the day is long, that when 
Dynamic Josh Movado is in the building - all 
will be entertained. Thank You. 
Amado: Might I add that we are working 
with our various teams of managers and 
agents to put a clause in our contract requir- 
ing that our opening acts shower prior to ar- 
riving at the club. 

MRR: Aren't tonight's opening 
bands, like Social Scare, supposed 
to be good. Have you played with 
any acts that you thought were real- 
ly good? 
Amado: Oh yes. 

MRR: Like who? 

PBM: We've had some great bands open 
up for us. The Business opened for us a 
couple of times. The Anti-Heros opened up 
for us. 

Amado: How about Kiss. Remember when 
Kiss opened up for us? And Aerosmith. 
PBM: Peter and the Test Tube Babies 
opened for us. When The Offspring opened 
for us at St. Andrew's Hall, we were in- 

formed that The Offspring, even though we 
were the headliners of the evening, that we 
were not allowed to go into The Offspring's 
dressing room and into their deli tray. But 
after consuming several marijuana ciga- 
rettes and proceeding to drink half of a fifth 
of Courvoisier, we ate the entire cheese 
platter from their deli tray. They couldn't 
keep me separated. Will that be duly not- 

MRR: That will be duly noted. I'm 
not a big Offspring fan myself. I 
have heard a few of their songs. 
Moving on, I noticed you have a line 
in a song from your new single 
that's a tribute to Madman Pondo, 
about downing Ike Turner. It's says 
'I'll drop you like Ike Turner'. 
PBM: I'll drop you like Ike Turner would 
drop you. Ike dropped any sucker that tried 
to cross Ike. Not just Tina. Tina was a 
stepping stone to Ike's success, up the mu- 
sical ladder. Any sucker that got in the way 
of Ike Turner got dealt with. Just like the 
Bump-N-Uglies deal with problems. 
The Josh: Let me ask you a question. Do 
you like cake? Why don't you have a piece 
of this cake? PAUL. HAVE A PIECE OF 
THE CAKE, PAUL. You lousy little shit. 
Well, say something Paul. 

MRR: What about ICP. I heard you 
guys were offered a tour with ICP? 

PBM: You done said the wrong thing Paul. 
Amado: Now you've had a piece of cake. 
PBM: Our relationship with the Insane 
Clown Posse goes way back. It's purely 
platonic, were homiez. We go way back, 
we've wrestled together and hung out. 
Watched wrestling. We've done shows 
with them purely for the. uh, our fans wrote 
us and said - listen you guys haven't played 
in a while. You guys, ICP are gonna be 
playing. Why don't you put yourselves on 
the show, so we can see you guys play. 

MRR: I heard you played the Vans 
Warped Tour local stage. 

PBM: Money talks in this business, as they 
say. There were a hundred thousand rea- 
sons why we were at the Warped Tour. 
One hundred thousand green reasons. 
Amado: When you have fountains pouring 
out Courvoisier, and you're swimming in it. 
PBM: There's never enough money Paul. 
There's never enough money. 
Amado: The finer things in life. 
PGM: In fact our guarantee is going up as 
we speak. 

Amado: Did you shower Paul? Did you 

shower today? 

PBC: Next question for the Bump-N-Uglies 


MRR: Has anyone ever gotten hurt 
in the wrestling show? I've seen 
some crazy stuff. At St. Andrews 
Hall I'd say that stage is about four 
feet high. And The Josh dove off 
that stage onto a table. And at the 
Magic Stick, you broke two tables 
off of the dividing wall. In fact I 

think is was this guy... 

PBM: This is our arch nemesis Inferno. He 
fears no bumps, no heights. Fear is not a 
word in his vocabulary. 
Inferno: He has suffered many broken 
bones because of this. 

MRR: So you have broken bones? 

Amado: Paul, did you shower? 

MRR: Well, maybe not within a rea- 
sonable time period. 

Amado: We need to get you a shower. 
Give him the keys to our tour bus, to show- 

PBM: One particular man did get set on fire 
at a show. Inferno set somebody ablaze. 
At the hands of Inferno I've basically suf- 
fered 15-16 concussions within the last year 
of touring. I sustained multiple lacerations 
Blood loss. I've slipped into comas after 
shows. I've had teeth knocked out. re- 

placed with gold obviously. Busted fingers, 
busted arms, blown out knees. Separated 
shoulders. But you know, the next day I'm al- 
ways ready for the photo shoot. Always 
ready for the photo shoot. That's what is so 
great about me, Paul, I'm always ready for 
the photo shoot. Photogenic Bubba Mack- 
enzie they call me. 
(knock on door by Bubba) 
('Sir your Courvoisier is here' in high- 
pitched voice by The Josh) 
PBM: (opens door) Your going to have to 
wait, we're doing an interview (slams 
door). See, that's what I mean about being a 
playboy, Paul. The bar is not even open yet, 
and somehow there's an army of teenage 
girls out there waiting for the Bump-N-Ug- 
lies to come out. 

MRR: Do you run into a lot of prob- 
lems with that? 

Rob: One time they threw so many panties 
on stage that we couldn't find our instru- 

Amado: There's another clause that we 
need to put in our contract. When girls 
come to Bump-N-Uglies shows they must 
have a card that they have been recently 
tested. Paul, did you shower today? 

MRR: Yes, I do. 

PBM: We basically make a living sucking 
the life force blood of our fans as they pay 
money week in and week out to come see 
us. However, these same people, who 
granted their money is definitely good 
enough, so to speak. These people are not 
what you would say are desirable and some 
of the male members of the audience are 
highly undereducated, very primitive, almost 
inbred upbringing. They're the kind of guys, 
you know. 

Amado: They are the kind of guys, that if 
they weren't at a Bump-N-Uglies show, they 
would be at the local bar playing darts. 
PBM: Or at home beating their wives. 
Amado: Now Paul, did you shower? 
Amado: And also, Bump-N-Uglies are for 
the children. For the children, one love, 
(band starts singing)\ 

f Is 

JSres&ure B 

Interview by Bruce Roehrs 
I Photos by Halt Monterichard 
I MRR: We are going to interview 
I Pressure Point, with Mike and 
I Ken, singer and guitarist respec- 
I tively. For four years you've been 
Iplaying music together and 
I you've known each other even 

H'J n S e rr tb i an mat > "ght? 

I Mike: Yeah, a lot longer.. 

IMRR: How long? 

I Mike: Since about 1984. 

IMRR: Did you get into punk 

I about the same time? Did you 

I both grow up in 

I Sacramento? 

[Ken: I grew up in 

I Tucson, Arizona, for 

I the most part. I came 

lout here about '84 and 

I Mike was still a 

I youngster. I ran 

I around with the older 

I kids. 

I MRR: And in '84 

I there were many 

I bands circulating 

I through California 

I that were probably 

I stopping in 

I Sacramento. Do 

I you remember 

I some influential 

I bands from that 

jera that came 

I through your 

I town? 

I Ken: Shit, theres so many. Back then I 

I used to see everyone, bands from here, 

I bands on tour, lots of influential ones. ' 

IMRR: Were there all age venues 

I in Sacramento back then? 

K, en: P h yes , The Club Minimal, 
I Club Can't Tell. 

L: And would you get to see 

people leave and Kenny and I knew each 
other for years and I had never been in a 
band before, and he asked me to sing so I 
said I'd give it a shot and we tried it out. 
And for whatever reasons, that band kinda 
fell apart and Kenny and I just picked up 
the pieces and formed an Oi! band. 
MRR: The first time I saw Pressure 
Point was probably going on two 
and a half or three years ago, and to 
me the sound then was closer to 
what I would call hardcore from the 
old days. Now I see you moving 
towards a more melodic Oi! sound. 

the LA bands, like the Circle 
LJerks and Social Distortion? 

I Mike: Absolutely! 

I Ken: I played in the band that opened 

I up in '84 for the Circle Jerks and 

I Fang. We played without a drummer 
MRR: What was the name of 

I that band? 

I Ken: Industrial Hate 

I MRR: Did they ever have 

I records out? 

J Ken: We recorded a tape and brought 

lit down to Maximum Rock and Roll 

I Radio Show one night and got it 

I played. 

IMRR: Mike, what was the first 

I band you were in? 

I Mike: This band formed out of the 

lashes of a band called Deep 6 and 

I basically Kenny is the only hardcore 

member that was left in that band, 
I that's in this band. They had some 

Do you think that's a fair analysis 
from a fan's perspective? 

Mike: I think that's fair, we really started 
out to play Oi! - that's what we started out 
to play-street punk-but it was difficult at 
that period of time, in Sacramento 
especially, to find people who would play 
that kind of music and be associated with 
skinheads or streetpunk or Oi!. It was 
difficult to find people who weren't afraid 
of the stereotypes or the labels or the 
problems that are associated with it. so we 
had to find kids who had the heart first 
and the talent second and keep it simple 
for a while, and let those kids develop 
Now we're able to play what we've always 
really wanted to play. Do vou agree with 
that. Ken? 

Ken: Oh yeah - at that time we were 
writing songs at the level of the musicians 
and, like Mike said, heart before talent 
MRR: Let's talk about how that 
skinhead scene grew in Sacramento 
- Were you both running with 
skinhead crews back then ? 
Mike: By the time I became a skinhead I 
saw Kenny at shows every week. He was a 
skinhead and a black guy, as a kid vou 
didn t see a whole hell of a lot of that in 
Sacramento, so he helped a lot of us get 

into it for the right reasons. 
And he, for what ever reason, stood in 
contrast to a lot of the other stuff that I 
was happening at the same time. And , 
I think back then it was different, for | 
me - politics was never a part of it, 
you know? Coming up it wasn't about 
being racist or antiracist, it was about 
brotherhood, it was about taking care 
of each other. It was about listening to 
music, and there were some guys who I 
were right-wing, and they had 
reputations. But those were usually L 
the first guys who would take care of I 
Kenny if f 

people were 
hassling him 
- or would 
take care of I 
me if people 
were hassling 
me. So I 
really don't | 
think there 
was a racism 
problem in 
the scene in 
until about 
1987, 1988. 
Ken: Back 
then people 
were into it, 
you know, 
and punks in 
,_ . , Sacramento. 

Cause it's such a small community I 
scene, that if you were a punk or a 
skin it's all about togetherness, and as 
people started factioning off and 
fascists were coming in and it started 
breaking off that was about '87, '88, 
and there was all the media hype shit.' 
And at that point people chose to go 
that way and some kids, like Mike, he I 
went away for a while in '91. And he 
goes to Boston and there's a whole 
different thing going on over there 
and he doesn't see what's going on 
over here. Here a whole different 
thing had developed, and by '91 you 
had WAR Skins and American Front, 
and all these kids that were saying 
"okay you guys go out in the suburbs I 
and stay out there, we're going to stay 
downtown". Then, like a lot of my 
friends, good people I grew up with 
back in '84 who were punks, and 
became skinheads, had taken on that 
ideology . that Nazi ideology. A lot of 
people I hung out with deeply, and to 
this day we can't hang out. We don't 
talk. They see me, they go their way, 
and I go my way. It hardly ever gets 
violent or anything like that, but it's 
just a weird thing. And now there's a 

new crop of kids, thanks to bands coming 
trough presenting music in its true form. 
You've got a lot of kids that live out in the 
suburbs that know what's really happening 
as far as skinheads, and they understand it. 
And they can go to shows and there are no 
big factions of Nazis showing up at shows 
breaking it up. 

Mike: And I think from my perspective, 
being a little younger, a lot of these kids 
weren't from Kenny's generation, they 
were from my generation. And they came 
along not really knowing their roots, and 
they got so political that it divided the 
scene. And like Kenny said, I had some 
stuff to do, I went to Boston for a few years 
and when I came back I had taken what I 
learned from back there, and what I knew 
as a kid. I hooked up with Kenny and hung 
out with a lot of guys. And basically it got 
to the point in Sacramento where if you 
were not a Nazi skinhead, or if you were 
not a sympathizer to their cause, if you 
went to a show and you didn't have large 
numbers, it wasn't pretty. And Sacramento 
got a really, really bad reputation for that. 
And for whatever reason, and whatever 

way we did it, we 
had to take the 
scene back, and that 
may sound a little 
dogmatic but that's 
the fact. And if it 
wasn't for kids 
sticking together 
and unifying 

together for a scene, 
not just for 

skinhead, not just 
for punk, not just 
for hardcore, but 
for the scene itself, 
there would be no 
scene in 

MRR: You are a 
tireless fighter 
for anti-racist 
skins and are always trying to unify 

Mike: What matters is that were all at the 
same shows. We all come from the same 
parents, which is fuckin' punk rock music, 
and we're all there to enjoy the comaraderie 
and brotherhood. That's what it's all about, 
so to me, it wasn't about me being a leader or 
me having a higher profile or a bigger name 
than anyone else, it was just me doing what 
I could. 

Ken: I think that what our thing is as a 
band, we're trying to present music, you 
know what I mean? By us being in a band 
we can connect with other bands around 
the country get them to come to 
Sacramento - play with them and let them 
know Sacramento is a vibrant place to 
come and play. And as far as the whole 
going out pursuing Nazis and all that kind 
of stuff, you know, first, I'm a musician. I 
like to play punk music and I like to have a 
place to play punk music in Sacramento. 
And so yeah, we've spoken out about it, 
and as far as what we have to say from the 
stage. ...we say it and we back it up. And 
the kids are going to do what the kids are 

going to do. 
I'll always 
tell the 

go out 
and do it. 
And as 
far as 

violence, the only reason for violence I 
is if you get attacked, other than that, 
just fuckin' kick it. 

Mike: And I guess the only comment 1 1 
would have with that, is we're not pro 
-SHARP, but we're definitely anti- 
Nazi. There's not any individuals in 
the band who are SHARP. I'm a | 
skinhead - I speak for me. I am pro- 
skinhead, that doesn't have to come I 
with an apology or an explanation. If I 
you understand what a skinhead is, 
you know I'm not a racist, enough I 
said. Having said that, I don't go 
hunting for Nazis, that's a waste of my 
time. I have more important things to 
do with my life. I want to promote my 
career, my family, my band so on and [ 
so forth, however I do believe that if I 
Nazis come to shows, and they are 
wearing swastikas, and they are 
pushing their politics and their beliefs 
on you, then its up to me, it's up to 
him, it's up to everyone in that show, 
in that scene, to rise against fascism. 
And I don't necessarily promote I 
violence, but when somebody like that 
comes to a show and acts out like that, 
the only form of communication that I 
they are going to understand is the 
lowest common denominator, which [ 
is violence. 
MRR: After all other communica- I 
tions fail, then you lower yourself I 
to their level and beat the shit out [ 
of them? 

Mike: That's what has to happen. 
And it's not just me, it's not just him, 
it's not just them, if somebody comes I 
to our show and they're racist, and I 
don't know they're racist, and they 
are not pursuing a racist agenda, they 
are not voicing their racism, and 
pushing it on somebody else, then 
they don't concern me. They have a 
right to believe that, but the minute 
they voice that racism and push it on 
somebody else, and seek to harm 
somebody because of that, then it 
does become our concern. 
Mike: If you go back to the old days of I 
skinhead shows in England - for [ 

I example the incident in South Hall, 
with bands like The Business and the 
Last Resort, who clearly didn't have a 
racist agenda but were targeted as 
being racist 'cause they were 
there and they played - well 
the same thing has 
happened in America to 
the bands like the Anti- 
Heros. The Anti 
Heros are 

clearly not a 
racist band, 
but they are 
targeted as that 
because they were 
one of the first US Oi! 
bands. I remember back in 
the day when there were a 
few publications and 

individuals who called 
Agnostic Front racist and 
referred to them as Nazi 
sympathizers. To me that's 

I ridiculous. I don't think there was 
one guy in the band that was pure 
white and if you've ever met any of 
those guys they are the farthest thing 
from racist. Roger Miret is Puerto 
Rican, he's got "latino" tattooed on 
him and he sings half his songs in 
Spanish, but yet in the '80s the media 
focused on him because they were a 
pro skinhead band , and called them 
racist, That's just another example of 
that. I don't feel that I have to go 
through life and carry this banner of 
an"anti-racist skinhead" over my 
head. I don't owe anyone an apology. 
If someone wants to 
ask me what I 
believe, I'll tell them 
if they want to 

I believe it they can 

believe it - if they 

don't, fuck off! 
'cause I don't give a 


Mike: Bands like 

the Bruisers, bands 

like the Anti-Heros, 

bands like the 

Dropkick Murphy's, 

bands like the 

Trouble, the Ducky 

Boys, the Templars, 

the Lower Class 

Brats, I would hope, 

ourselves, the 

Authority certainly, 

there's a lot of 

bands now who go 

out there - they go 

on tour, they don't 

apologize for what 

they sing about - 
I they don't apologize for being 

skinheads or being associated with 
| skinheads - they don't apologize for 

that - they sing loudly, boldly, and 

proudly about what they are and the 

kids in the scene. We have so many of 

these bands putting the record straight 
because they have so many good labels 
who are putting out these records - it 
doesn't matter about the media, because 
we're underground and we always want to 
remain underground. The minute we 
don't remain underground in this society 
we lose our edge and we lose what we're 

all about and that's my honest opinion. 
We don't really need the media, cause 
we've got good labels, we've got good 
bands and as long as we keep our scene 
alive on that underground local level then 
we don't have to worry about nothin'. 

Ken: There's always people who are 
involved in the labels or actively involved 
in the punk community. Where I draw 
the line is where some dude, who 
doesn't give a fuck about m,e 
comes to me offering 
me something, throws 
it in my face, he signs 
two thousand bands in 
the same day anyway, 
and tries to entice 
me because 
the band I 
play in has 
the capability 
to possibly to 
sell a few records. 
The band could have 
been playing for years, but 
now they're getting a draw 
and corporate starts coming 
around throwing money in 
your face and getting bands to 
come around with them. They 
don't give a fuck about the music, 
the scene, nothin except trying to 
entice these bands, getting them 
signed, then making this big media, 
image industry as far as labels are 
concerned. As long as the people who 
are running the labels are actively 
involved in the scene — are in bands, have 
played in bands, are doing it for the love of 
the music, and are not out there saying 
okay we're doing it for punk rock and then 
go sign a rave band — as long as that shit is 
not going on and as long as it's from the 
heart, then the label's cool and the kids 
will want their music and you want the 
kids to want your 

MRR: That's a 
nice goal -without 
corrupting the 

ideals of it - to 
play music for a 
living - that would 
not be bad. 
Mike: If that happens 
I would be really 
surprised, 'cause none 
of us are that pretty 
and my voice is not 
exactly that good — it's 
a little too gravelly for 
that. However, if a 
band sets out and that 
is their sole goal and 
sole purpose, then 
they're wack in the 
first place and their 
motives are suspect, 
but if a band, like the 
Dropkick Murphy's 
for example, if that 
band who from day 
one has written the lyrics they want to 
write, has played the music they want to 
play, has said what they want to say (and 
on their first record there are songs that 
are pro union, pro skinhead, not exacdy 
causes that appeal to the masses or the 

fuckin bastards in power) and they are 
now able to make a little money I am 
guessing and to do a little better and 
play music — a band like that I can't 
say anything bad about. 
MRR: The Dropkick 
Murphy's have been 
one of the most 
helpful bands 
everywhere they go 
they try to get a 
small local band on 
the show and they 
try to keep the ticket 
price down for the 
kids, and get an all 
ages venue when 

Mike: And it's really good 
to see someone like Al 
Barr singing for them, 
'cause Al Barr paid his 
fuckin dues with the Bruisers - went 
through line-up changes and never ever 
I made any apologies and never tried to 
I jump on any bandwagon . He always 
1 played the kind of music he wanted to 
play - now to see him have this opportu- 
nity after paying his dues is great, be- 
cause now they got more of the old 
school. And Rick Barton, now he's in a 
fuckin' band that's actually helping him 
out and that's great 'cause those guys 
have been around for a while. 
MRR: You have had a little bit 
of college education, haven't 

Mike: Yeah, I've had a little bit. 
MRR: Are you still pursuing 
anything in that area? 
Mike: I have about a year to go. 
MRR: For a college degree? 
Mike: Yeah. 

MRR: And what degree would 
that be? 

Mike: Political Science. Kenny is also 
a college graduate. 

Ken: I worked as a counselor for a 
while in a mental health hospital - did 
that for about a year, got burned out. 
Right now I've just been doing music, 
and later maybe I'll go for a masters 
degree . 

MRR: Is alcohol a factor in your 
band? I don't ever see you 
drink, Mike. 

Mike: I don't drink. I'm a 

recovering alcoholic, so I don't 

partake in alcohol, but if the 

other guys in the band want to 

drink, that's their business and 

as long as it doesn't get in the 

way of the music, that's 


MRR: There 

has to be a 

kind of an 


o f 



coming out 

of recovering alcoholics. If you look 
at Mr. Fredericksen or Mr. Casey, 
you can name quite a few very 
powerful men that are working in 

the kind of music we love . 

Mike: Yes. I think what they've done is 
they've redirected all their attention and 
perhaps some of the things that caused them 
to drink - I'm just speaking from my own 
experience - I think they've directed it to- 
wards the music and towards the scene - 
that's certainly what I've tried to do. Lars is 
an individual, whether you like his band or 

not, whether you have opinions about the 
videos or the direction that the band has 
taken, he has certainly taken his negative 
characteristic and made it a positive, and 
he's directed all his efforts in a positive way 
by producing bands for free, like the 
Dropkick Muq)hy's, or like flying to En- 
gland and spending all day and all night 
keeping The Business out of the pub and 
making them go to the studio to finish re- 
cording a new record . 
MRR: He produced the fuckin' best 
record they've done in years. 
Mike: I agree, and he's done both of our 
records now . 

MRR: Would you be able to go on the 
road and support this new LP if it 
started to catch fire, and would you 
be able to go back to New York and 
Boston and take a month off? 

Ken: I can leave - 1 can get a job when- 
ever, so that's why I like keeping it open. 
I don't want to get too serious in a job 
and then have to leave. Just for the sake 
of helping out the people 
who put out the record we 
would have to tour eventu- 

MRR: How would your I 
music be recieved in | 
rural America? 
Mike: Some of the lyrics I 
that I write about are 
directly related to the 
correlation between the 
family farmer and the steel 
or auto worker. I 
personally am not opposed 
to modernization, but 
what I am opposed to is 
when you've got 

somebody who's given the 
factory and a corporation or an 
industry forty years of his lif,e and a 
robot is invented that replaces his job 
and they just lay him off. I think that 
is up to that Corporation, and without 
getting too political, I do think that 
somebody is obligated to take him 
and compensate him for the forty 
years of blood, sweat, and tears he's 
given that corporation. If he still 
needs to work to make a living, then 
re-train him to do something where 
he can still work forty hours a week, 
hold his head up high, and have 
access to all the things that everybody, 
whether they're flipping burgers or 
trying cases before the Supreme 
Court, should have access to. There 
are just certain rights that if you're 
working forty hours a week, I don't 
care, you should have access to 
certain things. 
MRR: Medical care would be a I 
good example. These guys work 
all these years and they retire 
into this medical system that 
doesn't care for them 
adequately. The health care for 
the elderly in a country like 
Canada or Norway where | 
medicine is socialized is better. 
Mike: I agree. 

Ken: And a lot of times babies in certain | 
areas; poorer areas — prenatal 
care is lacking and you have kids 
going without any medical at- 
tention - they have to go down 
to some clinic. 

MRR: That's true, Ken. 
Best of luck to Pressure 
Point. Thanks for the 
Contact the band: 
c/o TKO 
4104 24th 
St. m03 

CA 94114 


by Neil and Josh. They have a wide range of influences, from Crass 
to Minor Threat, and kinda sound like a little of everything— usually 
like a cross between streetpunk and pop punk. They also have a new 
record coming out very soon. Thanks to Josh— he made it possible 
for me to interview this righteous band. Interview by Jin Lei. 
MRR: Who are the Victims? 

Josh: We were a four-piece, and everything we've put out is with that 
lineup; Jesse 

Bordeau on guitar, Josh Pierce on voice and guitar, Neil Pouliot on 
drums, and Ross Farley on bass. Jesse would sing backup some- 
times, and Neil and Jesse did a lot of lead and backup vocals on all 
the recordings. We also have a lot of friends, too many too mention, 
that would come and sing vocals with us when we recorded, and we 
like to think of them as a small part of the band. 

The band took a little break, but didn't really break up, and 
reformed with Josh and Neil and our new bassist Nate Menier (from 
local bands Social Defect and Crackwhore). Nate jumps around a lot, 
and sings stuff too. This has definetly turned us in a slightly different 
direction. Jesse and Ross were always important to the band'sf 
structure and flow, and we respect them, but feel the change might! 
be good as well. We remained the Victims because Neil and I have* 
been the songwriting core of the band, even though everyone is 
equally important. We would have no qualms about Ross and Jesse 
playing the old songs with their bands in the future, but this is the new 

MRR: When did you begin all this? 

Josh: This actually stems out of an old band I had when I was like 14 
or 1 5, called Filth. Neil joined that band on drums toward the end of 
the group, and our bassist, Matt Kowalski (a great fellow if you ever 
meet him) left to pursue his own evolving musical tastes. (He wanted 
to play hardcore and jazz, dwe 

became the Victims. That e all 

in Wgh school at that p< ' 
band, but we had hell of 
MRR: Who is in charge 
Josh: As far as graphica 
most of that, but Neil has ^ 
on the inside of the "Subt* 
Neil and I did. We used to i 
we went to school and cut 1 
probably a bad idea, becaus*j 
I still can't do math! Neil can^i 
numbers. I do more of the art dir 
label, but a lot of it is just makinsf 
the Evenmind and Jesse and jj 
together the final product arc 
ideas, I just polished things = 

Josh: Uh, "Hitler Youth." Yes. I knew some gay friends who got beat 
up by rascists, and I also knew some friends who were like, "I don't 
care if they're rascist, as long as their nice to me, you know, unity and 
all that". That's not okay. When you see something, a bad element 

i the scene, you have to drive it out before it spreads, change it ori 
something. Unity is not accepting someone because they're "punk"! 
or "skin" or whatever you think you are, when they still preach hatel 
because then they're being divisive, and you're just promoting that byl 
allowing them to stick arouhd and spread their hate. So this songl 
talks about how the fascists are bad, and all that stuff, which is prettyl 
obvious. People ask me why I'm preaching the same message. "Nazi 
punks fuck off." Well, until there aren't any more Nazis, the message! 
still needs to besbouted, because when you look around you realizel 
jw§ haven't vvon yef. So i guess it should be "Nazi punks still fuck off' 
Qnoateo deals with the concept of pacifism, and 
"/Ip someon e ca n get you so riled up you just 
(Pleir ugly faJj^The use of force isn't ever a good 
Die if it's pessary. It kind of deals with the 

ifed by Wppie of s tuatiori. I guess the song 
the assumT&ton thatthis would be my exception 

dea, but 
, inner coi 


to "pacifism, but 
inclusion. It'ss 
e with that song was, 
hear the song 'is obvi 
The problem is we n 
the country, woul 

in— ii wasn i serious, we were a iini 

f your art direction? i 
ty? Like the jackets i 
a big hand in it. 
franean" vinyL /■ 
it around andt* 
ass together. No\ 
I know a lot aboi 
o that stuff, thougl 
"" ction now, with the 
other people's ideas cl 

m on't really always feel comfortable with that 
a confljUfpr me, and for a lot of people. The other 
,J -a "Seig Hei , M cker", which 

a sarcastic in: e goddamn 

ought people " 
ar tharsong, and 
a song called "Hi 
nd come to the G\ 
nd. I don't sing it that" 
recordingWon't hlfcte it, but even/time Is 
overseas, I have to include tharlittle note, just 
MRR: Are there any bands you really hate? 
Josh: I don't hate any bands, but hate some bands'tlusic. 
a couple local HC bands, that play really bad new-ss'u 
ink old school is like anything off Kom's first album, ai 



let alo 




e/of the state, 
afraid non 

uth" and only 

sly incorrect 

ay anymore, 

' tnat record 


Snmpnnp ^hnnlrf hi 

do that. I 

Victims' p ..„ 

MRR: Who 

Josh: When we first starC 

I was the one singing, 

After the first tape, Nei 


making show bos* 1 " 

stuff, which mak< 


about b<yfiM^$ 

they like o 
every a.«j«i 


a me 
sit irjf 


, P°! 

at, bee 

' thing? 
Ids, ar 
e Rippers albums on Sweet FilthJ 
tweaked it, but the bands did 
little. | do a lot of show posters ano 
the Victims things now, because 1 1[ 
ew-school logo and stuff. Almost 
y dad's, or by our friend, Erin McGc 

d, I wrote almost all the lyrics, just be 
o I just kinda made stuff up as I went < 
started writing things, (he actually wrotefl 
|f and we'd write together (when we got tirf 
) Now he writes some stuff , and I write 
for a nice balance, because we write 
writes about girls and poppy subject stuff, l[ 
itics. The songs about growing up and 
us. It njakes for a nice balance. The same[ 
usic — Neil^writes some, I write some. Some! 
luse people don't like some stuff 
s us from being one of those bands \ 
ame.'Tffe best stuff is when we sit dow [ 
I think it's better that way, too, becausj 
etimes with a band, and it's good to " 
e, I've talked to people who play bass in b ' 
and don't do anfthing, and don't agree witf 
f sent, but help out anyway, an# that's not as! 
flgmEraBireiTCiiTimi'nreiici.'rai * 

;, that 

don't like 

__fiKK«j, then 

they can start playing "heavy" music. Mock grind is funny, Neil plays 
in a joke grind band called Anal Feast of the Dead, but when people 
sing like cookie-monster and their bands don't play notes, just fast 
noise, and they're serious about it, I don't like that. It's kind of 
annoying when bands play music with an important message in the 
lyrics and think that's an excuse not to have good music. I mean, I'm 
not saying people should all have to be great musicians, that's not 
punk, but I like my music to have notes, and I like something with a 
rythym. I'm just old-fashioned. The only time I'd hate a band was if 

I have no tolerance for. Outside of 
boneheads like that, I don't hate people, just their music. 
MRR: What's the band you like the most, and like to play with? 
Josh: In Harm's Way is a band of guys about four years olderthan us, 
that play some pretty original street-punk stuff, which is nice, be- 
cause that genre's getting old quick. They have new stuff, but they 
were on the split CD with us with their old stuff. They rock, and they're 
all really nice guys devoted to getting a positive message out, and 
having a fun time. Hale Hack is always getting us shows and hooking 
us up and stuff. We love In Harm's Way. They recently moved to 
Boston, so if you live around there, you have to go see 'em. They 
fucking rock out. The Wards are also another great band, and they 
were on the split CD too. They've been playing around Burlington 


is too ecle. 

Biers*, but 

; » iun 10 : 

! me s rock. We were also all really psyched to play a benefit show Tor the 

> Dut local youth club with a local posi-core youth crew HC band that has 

ner ^ since broken up, called Common Ground. They were some of our 

1 ana heros when we kids, 'cause they were the coolest band in town. Their 

; vou singer Eric Burdo still does stuff around the scene and is just one of 

mow tne most genuinly nice guys and greatest musicians I know. Our first 

mos, snow was wnen tne Business came to town, and the other band on 

n ,r| e the bill cancelled, and we asked the club if we could open. They let 

C001 - us, but we didn't have our bassist, and we played all the Business' 

only one saying , wnich , M was part „, ,he proPlen, „«h ,ho 0,3 aSTLSS^SES^^^ 

BsSr 8bout ,hai an,i - Na2i son9 -" hai was ^' " iginai ^* , ffi^"js2ss^^a^!i , sr 

nice guys and they rocked. And all the bands that buy us drinks for 
letting them use Neil's drums, thev all rock. 

I I 

MRR: HaVe any unfortunate things ha 
Josh: Uh, every show is unfortunate, it 
been pretty good. Neil used ' 
gigs, unless we managed to 
he doesn't do that anymore. .. 
were those couple of gigs Jes^, 
amps were switched to the wr 
kept shocking us, but we d/ ' 
played a whole show w 
would arc onto our lips 

And then th 
barely stand 

was all to 
anyone t 

ith was all ri 
n|. show. I »dro 
iiiad''SorrYjly]|ss wl 
ay d in th j& ^ ing ba 
;being ata pfaMt and J 
r e cleared oJBne rooi 

ied at your live shows? 

although as of late, it's 

stoned or drunk before 

an easy task) but now 

,ys breaking, and there 

t show up at. Once, our 

r something — the mics 

f g about that, so we just 

,l rJ|aiii3 e m 'cs, current 

after my 

le could 

id I had 


now for you to conduct music as y 
lasjer without school, but It's not my |hly jcb. I 
. seven at night until sevefi in the rnDpning. Betwi 
l ancJTiy real job I probably work 70 CTt.O hours a 
ies. But I don't make any money off the rqBBfci labe 
(5* and son%£|t§jn.Pt to bring unity to a reajy cm/idei 

getting a rea 
think we eve* 
Josh: I gu 
couple of 

rollegeyaWwbrks som 
"jink music is his m^ 
ikome liQJu^job b 

e ru., 

.-over, a 

graduated a 

have no delusions about the Victims changing the world. We do it for 
fun. But it's still nice to see that other people care, when I get orders 
from kids and they say how much they like us, or when a new band 
tells me they have our first two tapes and that's what got them into 
punk rock. I guess that happens a lot more to a band like us because 
we're from Vermont. We had a lot of middle school kids that dug us 
for a while, which was funny. I hate to think we're that accesible. I'd 
like to think parents were throwing our music away because it was 
blasphemous or something. 

I guess it might end if we had to have another major line-up 
change, too. I feel a little awkward about me and Neil being the only 
original members, but we were the two that started it. I wouldn't want 
it to be just one of us left. That would be saying the band was just that 
person, and it's always been everyone involved. Ross and Jesse and 
Neil and me and Nate and Matt and everyone that's come into the 
studio or sang along or helped us in any way, those people are the 

MRR: Why did you call yourselves the Victims? 
Josh: This sounds sad, but really, just because it sounded punk rock. 
It was short, and it was a name that began with "the" and our parents 
didn't like it. We got annoyed with people telling us we weren't victims 
though. But it quickly evolved into kind of a statement against all 
these talk show guests and the culture of victim-hood that evolved a 
few years ago, that whole, "it's not my fault, I'm really a victim too" 
thing. There's a point where you need to take responsibility for 
yourself. I understand that some experiences can fuck you up, I've 
been there too, but in the end, who's the one ultimatly responsible? 
I suppose in some cases, if you've been pushed way past the edge 
and you're not really sane to begin with, it's not all your fault, but 
usually in the long run, you need to stand up and say "I did this." Not, 
"I did this because someone else did something to me". That's the 
issue the whole song "Disaster" on the 7" was supposed to deal with, 

hi if lt\A/aQn't Hoar harm icaiiio -^/-IJikkrtAl *U^ l„n^ Tk«C U t 

that sample from Repo Man in there. 
MRR: Minor Threat is an important influence on you, right? 
Josh:Why, does it show? I guess Hitler Youth is kinda that sound a 
little, like early MT. The new version we're recording has an intro 
that's a direct rip-off of "Filler". I guess they were an influence, but not 
more than anything else. I mean, I used to be really super straight- 
edge, at one point I had an Xs on my hands every day until I got ink 
poisoning. I even drew 'em on the side of my head next to my 

,,.^,,o„»,x. ITC ii o aiwayo uune uiuys, uui lie iiKHb minor Threat a lot 
too. A lot of bands influence us, just like a lot bands influence 
everyone else, and some show— and you're a fool if you don't think 
meone else in some way— but we also sound like 
e level. People keep saying we remind them of the 
on't see that, even though Ross and I loved them, 
ced musically. We were influenced by a lot of Minor 
rains, and the Ramones and street punk too. We 
he Exploited and GBH and Blanks 77 and we all 
ti-Flag all the time. But we also listen to silly poppy- 
f MRR always hates, and that comes out on songs 
y." We listen to a lot of not-punk too. I mean, I like 
ot this shit nowadays that's all about money) and 
stuff from the '50s and '60s. We all love the Stray 
J sed to play Elvis covers and Monkees covers. And 
jjmont, until you get to be older, you don't always 
9 so when we were little we'd listen to bad alt-radio 
Jfe we have some of that in our sound too. 
:te hobbies other than music? 
p. do is play music. No, actually, Most of us are really 
Borne of us are better than others. And we like to 
ae things and screen print, and we all go to shows, 
a ovies and things that are scary and he's definitely 
nreational drug user, 
lu name your label Sweet Filth? 
ye band used to be Filth, and when the old bassist 
I into the Victims, he and I were gonna start Filth 
Sn't want to sound like Filthy Records— that used to 

J 1 so I added the Sweet in front, because I was really 
of dichotomy at that point in life. Now I'm stuck with 
sn't carry too much of a message, so I can do what 
lich is exciting. I get to put out records by anyone, 
re, which is really like a punk rawk riot grrrl thing, 
t Evenmind, who are just really great heavy new 
school HC. And the Victims are o n it, all punk and shit, and I might put 
out ^f^EaWktefclin-PSHCTT?. ^m\7n<T,rnt3r ifnr r,anEi=i ii about 

■and unity. ^MJTtfflffljijito the 
li* Emily say\fJJ£ 

you sound like s 
ourselves on so 
Germs, though 
We're pretty bala 
Threat, and Bad 
like Conflict and 
used to listen to A 
stuff, the kinda st_ 
like "Girl From Ju 
old-school rap, (n 
Neil listens to old 
Cats too. And we 
growing up in V 
know about pun 
crap, and I 
MRR: Do you h 
Josh: NopeJ#L 
into art altrfoiugif 
skateboard .'1 ba 
NeH loves horror 
very serious r_ 
>$IRR: Why did y 
Josh: Because t 
teft and wQrturn 
Records. But I di 
be another label 
into the whole ide 

'II be 
ng. I don't 
Scomes pretty 

it . .'iii' ; 

IHMUSS & ith it too. 

the o„^ 
MRR: WhatlsW 
Josh:With the b? 
we ever put out 
career spannind 
start playing a Id 
want to put out C 
hasn't been rJg 
or CD ca - iJ T>* 
materi .JEllft ve 
label, jj 
really = 

dichotomy o 
ur futureH 

II about 
lto the 






VictiSST I 

r fidipill^^eepfpckin into trffe rfodtofflllenii 
greatest songs CD we can be We band 
over twQjentua|ttl'. No, the Victims woul 
more gj^gaygivrd, living in Vermont, tho 
'ojsaiiS W neof all our stuff we recon 
e out soon, but probably o 
' another release of all 
little thing with like three 7"s or so 
j((ld b§13ol. We alsb'Tiave a split 7" with Donfango a 
* ifa>Records, frorrV$hile, that's coming out soon, an! 
incited about that. * 
omeday, I'd like to'ma'ke the label self-sufficieri/but 
because I can't bear to charge the kids more thamwo i 
n album. I just want to keep putting out records fi 
and helping people out. I'djofre to do a bunch o|7"sfor 
e a bi-monthly 7" series or sdmething. It's anjfcfea 
cing around. I'd like to be able to get a partneMYthis t 
do everything myself. I'm putting out a compjft the en 
it's all about unity, so bands should get in toucfJ'm also 
de more records a/id get a distro really gotfig. People 
i f&order things, «r talk, or ask for help dding stuff, or 
love trades for distro): Joshua Pierc^The Victim 
d^w Avenue/Essex Junction/yT 05452-304,, #r chec/ out our we 
d sweetfilthjnscool 
n'roll in 
fore punk! 

m so if 
"with a 
like to 
ed that 
) a tape 
ur new 
rid ro 

e whof 
fore profit, 


(no "www"), 
good sort of \ 

t never 
ir three 
r great 
e been 
do, so I 
i of the 


nd let's 

^song cassette 

aste" 1 5-song cassette 
ean" 7-song 7" 
.Jacks on "Lemcke Won't Like It" 3-way split CD 
a sr/fit 7"soon, with Donfango from Chile 
leases on Sweet FiltKJCsplit is also on Deifer Records) I 
romps, but I don't know all of thos 

| numerous songs 05 

The end of... 

The OUTLAST 10" entitled "Positive 
Hardcore, Positive Youth" sums up 
about everything I love about hardcore. 
The music is pure energy, taking it's 
influence from the early 80's instead of 
any modern pop or metal bands. Their 
lyrics are anti-society with enough 
youthful optimism that you can't help 
but feel that there is something out there 
that is better than the shit we live in. 
This mixture of fast energetic hardcore 
with positive lyrics is what made 
OUTLAST so fucking rad. 

Unfortunately For our scene, OUT- 
LAST have passed on, but luckily for us 
they finished with their strongest mate- 
rial. The 10" mentioned above is the 
best full length of youth crew hardcore 
in the 90's (it will soon be re-released 
as an LP on Underestimated in the US), 
and their last EP was a just the icing on 
the cake. If you haven t had the plea- 

sure ofchec king em out, get one of their 

releases while you still can 

here' one of their last interviews, (max) 
Outlast interview conducted by 
Andreas Hagberg, from I Hate The 
World That I Think Hates Me fanzine. 
For the complete interview send him $ 1 
for #4 of his 'zine (at the address be- 
low) Photos by Kristofer Pasanen. 

MRR:-So, what's the main reason for 
this final show? 

HENRIK:-When we first decided to quit 
Outlast I didn't feel like doing anything 
more. It felt silly and ridiculous to do a 
final show. But so many people have 
asked us to do it, everyone seems to 
want to see us, so why not, lets do it. At 
least it's fair to them. But there are 
selfish reasons involved too of course. 
MRR:-Like what? 
HENRIK:-Like, I want to do this one 

more time, because it's so fun to per- 
form. At least that's what I think. 
MRR:-But is it hard to accept that Out- 
last is gone? 

HENRIK:-Yeah, in the beginning, when 
we first decided to split up. Everything 
we've done all those years felt in vain, 
for nothing. And we had worked so 
much with the band. 
MRR:-And with Outlast you had the 
possibility to travel to all these places 
and shows, never pay any entrance. I 
mean, whenever there was a show, it 
seemed like you guys played. 
HENRIK:-Actually I don't have to pay 
entrance now either (because he works 
as a show-organizer), but I'll do it any- 
way. I mean, first it was hard to accept 
that Outlast didn't exist anymore, but 
you had to accept the fact that we 
couldn't exist forever. I always knew 
that sometime, someday we would split 

need to be creative. They 
don't have the inspira- 
tion, or they're just lazy, 
and if they don t wish to 
be creative, if they're 
satisfied with being pas- 
sive, then it's okay to be 
passive. If you feel an 
urge to do something, 
you should do that too, 
at your best ability. You 
shouldn't do things just 
for the sake of doing 
things, because there ex- 
ists a certain pressure on 
you to do things, be- 
cause if you do, it won't 
be good. It has to come 
from inside, and you 
have to find out what it is 
you want to do in life, 
something you're good 
at. And I mean that's so 
individually. But also, 
now when I quit doing 
this band, I end my cre- 
ativity in that way, and 
then I think it's about time 
for someone else to re- 
place me up on the stage 

cause it doesn't sound good. But it's a 
really weird dilemma with creativity 
and passivity. 

MRR:-When you say "We are supposed 
to be different, but I guess I'm just a 
body to you", in the song "Make-Be- 
lieve Alternative" on the last record... 
It's been said thousand of times through 
the history that punk/hardcore is for the 
cast outs, those who doesn't fit in with 
the "normal" society. But do you really 
think that makes sense in hardcore to- 
day? I mean are the kids involved with 
hardcore because they have no other 
place to go to? Because, sometimes, at 
least I wonder if I went to a fashion-club 
or a hockey-game instead of a hard- 
core/punk show. 

HENRIK:- Urm... Very hard to say, peo- 
ple at Hockey-games don't fit in with 
hardcore either, they are messy and 
only start trouble (laughs). I don't know, 
a lot of kids probably go to a hardcore- 
show in order to meet friends and they 
have friends in the scene, it's like a 
social entertainment. And I don't know 
if a lot of them feel they are outcasts. 
But at least that's how I felt, and that's 
why I started to go to hardcore-shows, 
because I felt different and I wanted to 


up. But I hoped we would manage to be 
like 40 before it happened, but things 
never go the way you want them to 

MRR:-One thing I often noticed with 
Outlast is this message to be creative 
yourself. But I think that in today's soci- 
ety, or punk/hardcore community, it 
takes passivity to create that creativity. 
You know, for example, playing soccer 
yourself is creative, but to be able to 
accomplish tournaments or games, you 
need an audience. I guess some sup- 
porters share the players creativity out 
on the field and think they're creative 
themselves. Which I don't think they 
are. Is this a hopeless situation that only 
a few people can be creative, or should 
passivity be divided more fairly? 
HENRIK:-lt is possible that it should, but 
in one way, there's different ways to be 
creative on. Not everyone does the 
same thing, the whole time. But the 
whole issue with passivity and creativ- 
ity, I mean, you need it, and I need it if 
I'm going to do the things I want to do 
and be creative, undeniably. 
MRR:-Yeah, that's the point I wanted to 
discuss with you. Because if you want to 
keep your distribution alive... 
HENRIK:-. ..I need someone to buy my 
records, right. But they could just do a 
record themselves and I buy that. Then 
it would be a circle, so everyone is 
creative in some way. If everyone re- 
leased a record, everyone could buy 
each others records. But in reality 
there's not a lot of people who feels a 

and be creative in that way instead. So 
that I'll get inspiration from someone. I 
always try to urge people to be cre- 
ative, you know, do something with 
your lire, and then it's me who gets 
infected by their creativity, instead of 
me, infecting them from the stage. And 
that's actually a pretty cool situation to 
be in for me. I hope that maybe some- 
one can inspire me to do something 
new. That would certainly be great, 
because I haven't felt that in a long 
time, many years. I'm never looking 
forward to go to a gig, it just become 
routine. Same thing with reading zines, 
listening to new records, there's only 
few I really like. I expect so much from 
the people who're supposed to be cre- 
ative, that are creative, even though not 
everyone has the same ability. 
MRR:-The development turnea out to be 
that after some time you'll be looking 
for" other stuff, weird records... But it 
doesn't have to be a bad thing. 
HENRIK:-No, of course not, but I have 
to admit that I rather listen on more easy 
music than all this complicated music. I 
went back to old 3-chords punk-bands 
from the eighties, for me, that music is 
more refresninq than listening on some 
guy playing the flute in a hardcore 
song, because I don't get it, "what the 
hell is this?" Alright, you want to do 
something odd and original, and may- 
be you have an aspiration to be origi- 
nal and go for that, fine, but for me I 
rather prefer old punk-songs than vio- 
lins or flutes in hardcore songs, be- 

do something different. But still, it was 
a cool and tough thing to do, and that's 
the whole point when you've made it 
that far, you're only interested in doing 
the right things ana wearing the coolest 
clothes. Just Rke with everything you do 
in life you wouldn't be doing it if you 
didn't think it was a cool thing to do, 
right? Because otherwise you wouldn't 
get any response to what you were 

MRR:-But was that what you were think- 
ing about when you wrote that lyric? 
HENRIK:-Well, not really. I want peo- 
ple on a whole to try to be different, as 
individuals, butthat's notwhatyou look 
at, you only look at the surface of every 
human being. Like the size of the body, 
or just the outfit you wear. You look at 
how people look, without considering 
that that s maybe how they want to 
look, they may have an urge to look 
different. And everyone, that during 
some period joined the hardcore/punk 
scene, has at some time chosen to be 
different, maybe because it is cool or 
whatever. Still, you choose to be differ- 
ent, you search for an alternative to 

MRR:-But it feels that being different is 
something you choose, for a lot of peo- 
ple (you could just be a normal guy/girl 
hanging out at the local pub if you 
chose to, why don't you?). 
HENRIK:-Yes, but maybe I chose to be 
different as well, because I wanted to 
be different. And some sort of personal- 
ity must have formed me during all 
these years. Maybe I was different al- 

"The world sucks, we build our own graves, we kill ourselves, 


ready from day one, because through 
my life I have searched that path. But 
that's nothing I can give you a straight 
answer to, it s subconscious, because I 
can't say that I'm that different But I 
would certainly appreciate if everyone 
would own some sort of individual trust, 
so that everyone would look more into 
what they want to do, and not what 
others do. Preconceived statements are 
pretty common. 

MRR:-ln some song on the last record 
you say "But no sir, I won't clean your 
boots". Have you got that feeling in 
real life, "this is fucking it, I'll refuse 
this", but still you've done it? Because I 
get that feeling when I read that lyric. 
HENRIK:-Hmmm, about military service 
or direct influence when it comes to 
obeying orders I guess it's similar to 
every job. I don't think I have ever felt 
that "No way, I'll fucking do this", but 
I'd love to. But I have started to do that, 

now, when I started to grasp things.. 
But there are certain things I wouldn' 
do, for example, I would never be c 

part of any military, no way, and I 

would never work at Aria or Snell, and 

there's no one that can force me to do 


MRR:-But how long do you expect to 

resist society's expectations on you to 

grow up, get a real job, car, house, 

children? How long do you 
think you will have a will to 
resist? And when if you 
choose to resist, what influ- 
ence do you expect your 
resistance to have in the 
rest of your life? 
HENRIK:-! have nothing 
against the phase of grow- 
ing up, I'm not especially 
frightened by this age- 
thing, but I know what 
you're getting at. Taking my 
resistance that far depends 
on responsibility, you have 
to take a look at what op- 
portunities you have. If I'm 
alone my chances to avoid 
growing up is pretty big. 
But in case I'm not alone, in 
case I have children, then I 
would never have such an 
opportunity, because I then 
have to satisfy other peo- 
ple's needs. 

MRR:-Alright, but since you 
do resist, still, you have to 
expect something in return, 
otherwise you wouldn't re- 
sist so much, right? 
HENRIK:-I expect to live my 
life as I want to. That's my 
biggest expectation of the 
life I live and of course do 

). And I must think 
that I've done 
a pretty good 
job to fulfill 
those desires 
so far. And 
growing up? 
\'m not so fuck- 
ing old so I 
don't have to 
grow up. ..yet 
(HENRIK: is 21 
now). But Ben- 
jamin Vail E 
(Nine) once 
said a very 
good thing 
about growing 
up, he said, 
"kids have fun, 
parents have 
anxiety, you 
choose'. But I 
think it's diffi- 
cult to overlook 
all the things in 
the adult 

world, be- 
cause I have to 
take responsi- 
bility for my- 
self, I can't just 
rely on others, 
making my ex- 
istence suffering for the ones I care for. 
I can't do that! I must take control over 
my own life, therefore I've created a 
disruption. Maybe I don't want to grow 
up, but I'm forced to because I want to 
take care of myself. I might not grow up 
in the way that everyone expects me to, 
to take part in the whole circus. But I 
know that I'm going to change during 
the coming years, so therefore it's im- 
possible for me to be young till I die, 
and I don't want to be young till I die. 
I want to change, I want to be influ- 
enced by certain happenings so that I 
can develop. But I wouldn t... not to- 
day, I have nothing against living in a 
house, but I don't want to borrow a lot 
of money from the state just to buy that 
house. Because to be able to pay back 
that loan I would need a job, that I need 
to fight against others to get. And I 
neeasome sort of career, that I don't 
want. There's where my road is divided 
into 2 different directions basically, 
what am I going to do? Feel good or 
fulfill short-time desires? 
MRR:-So, when I read your lyric to "15 
minutes" I get the feeling that you don't 
believe in constant happiness, right? 
How many seconds, minutes, hours per 
day are you actually happy? 
HENRIK:-lt would depend on what day 
it was. If you asked me on a Saturday I 
would say that I'm happy almost trie 

whole day. If you asked me on a Mon- 
day, I'm not happy at all. 
MRR:-But about that song, you're trying 
to maintain that you're nappiness last 
for 15 minutes, generally? 
HENRIK:-lt sort of look like this: The 
world sucks, we build our own graves, 
we kill ourselves, we kill nature, every- 
thing and then there's 1 5 minutes when 
we don't have to think about this, and 
that's when you do a gig or see some 
other band perform. Because then 
we're able to shut it out for a moment, 
and those are the only minutes when 
we're not constantly reminded of it. 
MRR:-Yeah, and maybe we're only hap- 
py for 15 minutes now and then, but 
that happiness is so incredible that we 
manage to bare all the other shit 
around us every day. 
HENRIK:-Yes, 'cause happiness can 
last for only one second and last for a 
whole day. 

MRR:-We seem to accept that if we only 
get a small piece of happiness we're 
satisfied with it. 

HENRIK:-I know, but there are certain 
people who tries to deprive take away 
our nappiness, by telling us that we're 
not allowed to do this, because they do 
not want happy people, they want 
bored people just to single them out, 
people who obey whatever order they 
are told Without a single bit of question- 
ing. If you're happy, you won't do that. 
By the way, have you seen that commer- 
cial on TV? That guy is happy, he has 
won a lot of money and tells his boss to 
fuck off. He is happy, otherwise he 
couldn't have said such a thing. And if 
you have happy people, they will ques- 
tion everything, and you don't want 
that to happen. Religion is a big part of 

MRR:-Yes, they can allow us to have 
limited happiness, only so we will ac- 
cept to live in misery and boredom the 
rest of our lives. 

HENRIK:-You feel happiness when you 
pray to God, and then you have to do 
what he says. That sort of means that 
you have to do what everyone tells you 


ing in the wrong direction, how do you 
think we can make it go in the right 
direction again? 

HENRIK:-For me, personally, the hard- 
core-scene would be much better if ev- 
eryone would care more about what 
they were doing, and why they're do- 
ing it. Because I've seen those trends 
come and go now for so long, and I 
can't understand that people buy them. 
Oh, sure, I bought the whole Krishna 
shit, bought books and necklaces, start- 
ed to be interested in their ideology... 
But today I would never do that, serious- 
ly. I would want everyone to think more 
individually, what I want to do and 
why. That's the right direction for all 
eople, in every society. To stay away 
rom this "sheep-mentality" that exist 
everywhere. Still, it's a desire from us 
human beings to do that, so again, I 
can't sit here and judge all people and 
tell them that they re doing wrong, be- 
cause they aren't. But that s the thing I 
think we ought to reject, or try to reject 
at least. 

MRR:-And also, one need to realize that 
he or she is a part of a trend. 
HENRIK:-Just realize that you're doing 
it 'cause somebody else is doing it. It's 
not you that have decided what you do, 
instead you just did it because it hap- 
pened to be the right thing today, so 
you figured you were clever, but seri- 
ously, are you? Aren't you just conve- 
nient? I don't think you question your- 
self at all. You just ao things to belong 
to something, and that's an idea I can t 
really understand. That's not what it 
should be about, it should be about 
being yourself. Of course you do these 
"sheep-mentality" things from time to 
time. But everyone should start to think 
and question upon their own individual- 
ity, instead of just doing what everyone 
else does. That's the conclusion of all 
our rambling. 


"S/T" demo self produced 

4 songs on the comp. Tape "Uprising" 

Uprising Tapes #1 

"Conspiracy" demo Uprising Tapes #3 
"Icing ' comp. CD, Wounded Records, 
WR12 , 

"Friendship" mcd, Wounded Records, 
WR14, 10 Songs 

"Deaf and Wounded", low budget sam- 
pler, Wounded Records / Deaf And 

Records, DW01, 2 Songs 
"Where We Belong" comp. CD single 
, Bridge Records, B.O.C 001, 1 Song 
"Trust" mcd, Wounded Records, 
WR17, 8 Songs 

"The Rise of European Civilization" 
comp. CD, Point Break Records, PBR 
cd. 00-01, 1 Song 

"Sthink with Bastard Vol. 1" cd, some 
promo cd, Bastard Clothes / Comvert 
Distribution, 1 Song Outlast/ Endstand 
split ep, 7", Bridge Records / Gray 
Days Records, 
B.O.C002 / GDR, 3 Songs 
7" with the Inside Front #10, 4 Songs 
(one of the best magazines in the world 
of Hardcorepunk) 

Outlast / Section 8 split Ep, 7", Holy 
Fury Records, #2 , 2 Songs 
"Break The Silence" comp. Ep, 7", Pu- 
trid Filth Conspiracy, PFC001 , 2 Songs 
"Positive Hardcore, Positive Youth" 
mcd / 10", Bridge Records, 
B.O.C007, 19 Songs 
"a ramble in passion" 7", Bridge 
Records, B.O.C014, 5 songs 

1 Song on a Minor Threat tribute on 
Envelope Records 

2 songs on the Get Into The Pit comp. 
cd, One Try Records, previously on 
Positive Hardcore 


Bridge Records / Box 1903 / 581 18 



(Watch out for the American press of 

the Outlast 10" and 7" on one LP, 




to do, or those who stands above you, 
like priests, cops... 

MRR:-ButHENRIK:, still about those 15 
minutes on stage with Outlast, they 
won't exist anymore, or will they? 
HENRIK:-I can get those 15 minutes of 
happiness when some other band play 
instead, hopefully. It just has to be a 
damn good bad, maybe Section 8 or 
Forced Into, you know, a damn good 
band. If I was going to see Fugazi I 
would be happy Tor the coming 3 years. 
That only, would indeed make me hap- 

i, it would be the ultimate thing. 

RR:-You've said that you think the 
hardcore/punk scene in Sweden is go- 


mpoir+A** nevj -fen- 4lie pvrk rock CorrtUIHr: 

Ice* lZ"LpMou*vwUle.h 



"TV Civ* MmW &v« Ave pewl" ^*£P 

P& Box 7303W 



"Shopping for a Crew" - CD 

This CD combines the 

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and re-mastered, the "Who 

Shares Wins" 7", plus two 

brand new tracks. 10 songs 

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hardcore. Just what 1999 

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sarcastic kick in the ass. 

Still Available: "Who Shares Wins" 
7" + T-shirts (see website for designs) 

For up to date Info on News & Shows: 
Prices: CO $1 0, T-shirt $1 2, Hoodie $24; Canada add $2, Europe $4, Asia $5 

Also available from Phyte: Left for Dead discography CD ($8), Former P_H_Y ■ Bl 
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| "When everythings ..." 2xCD + zlne. - $9.00 

77 track discography. includes everything, 
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| split CDEP with I Farm - $6.00 

classic T now on CD with bonus live and 
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snotty and abrasive, fast punk/hc with some 
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all the best SB songs on one LP. Result: a 
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split CD- $8.00 

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by Lane Van Ham 

"It is impossible to get lost in Berlin, because you can always find 
the Wall." 

This line from Wim Wenders' 1987 film Wings of Desire serves 
as an apt metaphor for what is widely referred to as "the Cold War era." 
During that time, the entirety of global politics seemed to be cast in terms 
that referred back to this thing, this tangible, 
material embodiment of conflict that divided 
East from West. Anytime the world seemed 
confusing, all you had to do — or so it seemed — 
was remember the Wall. 

Actually, the Wall was not built at the 
start of the Cold War, nor did the Cold War end 
when it was destroyed.' But its symbolism was 
not unfounded: if the Wall was coming down, 
it meant the beginning of a new era. Unfortu- 
nately, as is often the case, the new era — what 
has come to be referred to as"globalism'V- has 
brought not a change in social inequalities, but 
a change in the rationales used to justify and 
maintain them. Cheery rhetoric about "becom- 
ing one world" corneals the truth that, while 
the infamous "Iron Curtain" has come down, 
many other barriers to human freedom have not. 

Some of them are being shorn up: in other cases, architects of the new 
order are building new ones altogether. This is the reality of the post- 
Berlin Wall era. This is 1990s An 

All the glowing talk about "the New Economy" only goes to show 
how a big lie, repeated often enough, can assume the strength of every- 
day, taken-for-granted truth The Dow Jones continues to rise, gas prices 
are low, inflation is in check. We are regaled with a new generation of 



Horatio Alger fables featuring mantras of "hi-tech," "growth," and 
"innovation," suggesting a veritable cornucopia of cyber-wealth 
waiting to be snatched by heroic entrepreneurs. To read the papers, 
it would seem we've never had so many opportunities to have it so 

Mortimer Zuckerman, Chairman of US News and World Report, 
provides a typically upbeat account. Defying the naysayers who 
considered America down for the count in the '80s, says Zuckerman, 
"Everything that should be up is up— GDP, capital spending, in- 
comes, the stock market, employment, exports, consumer and busi- 
ness confidence. Everything that should be down is down — unem- 
ployment, inflation, interest rates." Other signs of health include 
new jobs, technological innovation, and a new surge of "energy 
and talent rising from the bottom up," embodied in figures such as 
Bill Gates. 

But while Zuckerman and others gush about how economic indica- 
tors suggest continued prosperity for "America," we might ask our- 
selves, "which one?" Certainly, recent years have been an ongoing 
celebration for corporate America. But behind the comforting lore 
of job creation and new millionaires is another picture, one that 
challenges the use of the stock market to measure the common good. 
For instance, Holly Sklar reports that in 1998, the average worker 
made about 14% less than they made in 1973. For such workers 
there are two basic choices: one is to just accept the decline in liv- 
ing standards; the other is to supplement that income in some way, 
by getting another job or working more overtime. In short, most 
people are working harder than ever just to stay where they were 25 
years ago. 

The issue of overtime, in fact, provides us with some 
insight into just what it is that might be considered "new" about the 
"new economy." According to the Fair Labor Standards Act 
(FLSA), the concept of overtime means time-and-a-half pay for 
every hour per week over 40. But Labor Department surveys have 
found that FLSA provisions are routinely broken across industries. 
For instance, some companies have simply started to claim that 
certain periods of the workday don't count as "work" (such as clean- 
ing a restaurant after it's closed). Others find ways to classify employees 
(usually as "managers") in such a way that the law need not apply. The 
practice is so widespread that a study by the Employer Policy Foundation 
estimated that the amount of overtime pay illegally withheld from workers 
exceeded $19 billion every year. 

Even still, it is remarkable that in 
a time of alleged economic boom, so little 
of it appears at a level relevant to most 
Americans. The '90s are the ultimate refu- 
tation of the myth known as "trickle-down 
economics." The theory, no less promi- 
nent under Clinton than Reagan, supposes 
that the best way to provide for the gen- 
eral welfare is to leave things to "the magic 
of the marketplace" by giving business free 
/ein. Unhindered by government regula- 
tion (so the story goes), commercial acttv 
ity will increase so dramatically that the 
productiou of wealth will inc\ itably 
"trickle down" from high-rises to subur- 
bia and the inner city alike, thus benefit- 
eyeryone: As it happens, though, the 
ton years have merely extended the 
:alth to grow ever more concentrated 
instance, the top 1% of households in the 
than the bottom 95% combined. And while 
American prosperity being reflected in the rising number 
ol households that own stock, the distribution here is not much I 
Yoik University economist Edward Wolff estimates that in tU 
stock market increase from 1989 to 1997, about 42% o£ the profits 
the richest 1 % of stock owners, while the bottom 80% shared 

trend datin 

profits between them. 

It is inadequate, however, to talk about economic disparities in the 
United States without talking about race. Certainly it is indisputable that 
minorities are represented disproportionately among the lower class — a 
phenomenon that has been pointedly described as the "Brazilianization" 
of the United States. Yet time and 
again, the mainstream of white politi- 
cal discourse has reaffirmed its com- 
mitment to denying the economic im- 
pact of historical and contemporary 

For instance, conservative col- 
umnist George Will recently issued the 
declaration that "race is of steadily de- 
clining significance." As such, the 
topic of race relations is meaningless 
and irrelevant, somewhat akin to lep- 
rechauns or the Easter Bunny. But even 
worse, suggests Will, is the danger that 
such talk will generate the dreaded 
sense of "victimhood" (nothing is more 
terrifying to conservatives than the pos- 
sibility of victims — unless, of course, 
they are Cubans or fetuses). In this popular tale, we are made to believe 
that the civil rights movement has done its job, and the problem, hence- 
forth, is not race, but colorblind issues of economics. As Will puts it, 
"today, the principal impediments to upward mobility are not institutional- 
ized repressions but certain behaviors, best understood in terms of class 
rather than race." 

It is certainly a welcome development to hear conservatives (Will 
is not alone) praising the civil rights movement and openly discussing class 
as a feature of American life. But when it comes to the alleged insignifi- 
cance of race in American economic disparities, they are simply wrong. 
On the one hand, it is true that minorities have been hit very hard by changes 
in the domestic economy over the last 25 years. It is also true that these 
changes cannot be chalked up to some kind of diabolical racist conspiracy 
among corporate planners. But there is also abundant evidence that blacks 
are hurt by discriminatory practices independent of such macro-level reor- 

The economy of post-War America was based on large-scale in- 
dustrial manufacturing, and the jobs pro- 
vided by such industries were attractive for 
two main reasons. First, they required little 
training, which meant you could get one 
without a college degree. Second, they were 
often unionized and well-paying. As rep- 
resentation in these fields became more ra- 
cially diverse, so did the prospects for up- 
lifting the economic situation of minority 
Americans across the board. Events since 
the global economic recession of 1973, 
however, have dashed these hopes. The on- 
going shift from manufacturing to a service 
economy ("deindustrialization," as it's com- 
monly known) has increased the importance 
of higher education, and diminished oppor- 
tunity for those unable to pay the cost. 

As a "colorblind" development that 
has hurt minorities without any evidence of 
overt racism, deindustrialization seems to 
support those who claim that racism is no, 
longer to blame for American economic 
apartheid. But plant closings are only part 
of the picture in which African-Americans 
and Latinos are more likely than whites to 

be either unemployed or underpaid, because these conditions tendto pre- 
vail regardless of the overall economy. As a general category for employ-" 
ment, "service industry" is fairly broad, and just as its enthusiasts say,, it 
has generated a large number of new jobs. But the pay v. tthin this general 
classification varies widely, and the highest paying jobs in service indus- 
tries tend to be those that require a high degree of training. This would 
appear again to be a "colorblind" issue, for if, as some claim, the problem 
is simply one of education, then poverty is simply the choice of those who 
do not pursue it If minorities choose to be less educated than whites, then 

it is because they are stuck in a "culture of poverty." Undoubtedly, there is 
such a culture, marked by practices of survival that develop in concen- 
trated areas of economic depression. Unmentioned, though, is the extent 
to which these areas are themselves products of racism. 

Furthermore, race still appears to work against African-Americans 
in cases where the veritable playing field is level or even tilted to their 

advantage. According to sociolo- 
gist Stephen Steinberg, there are 
surprisingly few studies on em- 
ployment discrimination, but 
those that have been done reveal 
that employers have a marked 
prejudice in favor of whites, even 
when applicants are equally quali- 
fied. Other studies have found that 
unemployment among blacks with 
a high school degree is in fact 
higher than unemployment among 
whites without one. 

Nonetheless, liberals 
and conservatives alike continue 
to announce that there is no sense 
in minority-based political action; 
the very concept of "institutional- 
ized racism" is now considered bogus. The fact of the matter is no matter 
how honored its heroes and events are now, the civil rights movement 
challenged the comfortable assumptions of white supremacy in America 
and scared the hell out of a lot of people. Denying its continued relevance 
is ignorant at best; at worst, it is a case of outright deception by those afraid 
or uninterested in confronting unpleasant realities. 

"The more freedom is extended to business," writes Eduardo 
Galeano, "the more prisons have to be built for those who suffer from that 
business." Galeano wrote those words over 30 years ago, but their essen- 
tial truth has been bome out by the Bush-Clinton era. The "curtains" of 
money and race are largely symbolic, but in criminal justice in general and 
imprisonment in particular, these metaphors become very real, oppressive 

Like racism and economic inequality, the spectacular growth of 
the prison system is a trend that predates the '90s. But the last decade has 
seen the trend deepen in a way that should constitute a national scandal. 
Though its crime rate is not markedly higher than 
other Western nations, the United States impris- 
ons about 555 of every 100,000 citizens. This is 
five times higher than the rates of Canada and 
Australia, and as much as seven times higher than 
most European nations. Since 1980, the US 
prison population has tripled, resulting in the con- 
struction of 600 new prisons. 

Most remarkable, though, is the extent to 
which the prison boom has disproportionately af- 
fected African-Americans. The rate African- 
Americans are imprisoned is seven times higher 
than that of whites, and among males aged 25-29 
the rate is ten to one. Strictly speaking, this sta- 
tistic may be meaningless, since African-Ameri- 
cans and whites could be arrested for crimes at 
rates comparable to those of imprisonment. 
(Note: This excludes the likelihood of racial dis- , 
crimination in making arrests in the fu£S§|| 
But this is not the case: for violent ciir 
arrests outnumber wh :;y'; 

one, and for mote evei 
three to one.- 

appens, the nation's leg3l systen 
by structural imbalances that allow 
) along lines of both race ; 
n juries, free legal counsel \ 

justice to be meted: 

fjorities are underrepn 

indigent can be scandalously inept, and race is -often a 

forcemeat search arid "profiling" practices!! 

More frustrating, however, is that everi if the 
cleansed of its biases, our national fixation on punishni 
dysfunctional for two reasons. For one, every dollar spent orf 
fact "solution"' like a prison sentence represents a dollar una 
fore-the-faet, preventative measures— namely, social services^ 

nowhere more evident than in the shameful fact that in the '90s, the num- 
ber of juveniles imprisoned doubled. The cost of building a juvenile de- 
tention facility is about $60,000 per inmate, and the annual cost of impris- 
onment is $20,000 per inmate. Yet phenomenal increase in spending has 
occurred at precisely the time in which public officials have vehemently 
denounced "big government" by shredding 
welfare budgets. Most tragically of all, though, 
is that prisons generally do not serve to reha- 
bilitate. The National Criminal Justice Com- 
mission notes that "as ever more young men 
and women are socialized to the cell blocks and 
then are returned to the streets, the violent sub- 
culture of the correctional facility increasingly 
acts as a vector for spreading crime in our com- 
munities." In its present state, the criminal jus- 
tice system represents a vicious cycle, respond- 
ing to anti-social behavior by putting people in 
a position where such behavior will only be 

It is somewhat ironic that the popular- 
ity of "get tough" policies are considered an 
"expansion" of the criminal justice system. 
True, more money is being spent, but in cru- 
cial ways the system is in fact narrowing, as 
the range of action is reduced to nothing more 
than harsher conditions and longer sentences. 
Meanwhile, the burden continues to be borne 
disproportionately by those who have histori- 
cally suffered unequal treatment under the law. 
The Clinton Administration, for all its rheto- 
ric, has done nothing to challenge the dismal 
prophecy of the Kerner Commission 30 years 
ago: "Our nation is moving toward two societ- 
ies, one black, one white — separate and un- 
equal." In 1989, a study by the Sentencing 
Project revealed that on any given day, one in 
four African-American males between 20 and 
29 was imprisoned, on probation, or parole. In 
1995, a follow-up study revealed that the number had risen to one in three. 
Every new prison thus becomes a monument to America's unfulfilled prom- 
ise of equality, a crucible of dreams deferred. 

Media commentary on the 10th anniversary of the fall of the Berlin 
Wall will probably not focus very much on the domestic condition of the 
United States. An honest meditation on the matter, however, could prove 
quite sobering. The common interpretation of why the wall came down, of 
course, is that totalitarianism simply lost out to the more virtuous system 
of democracy. To be sure, an overview of wealth distribution, racial dis- 
crimination, and the criminal justice system forces us to question just what 
kind of triumph has been achieved, but there is still a further, and more 
ironic point to consider. Start with the assumption that the fall of the wall 
means "the good guys won." In the wake of such a development, one 
would expect a dramatic surge in practices associated with the ideals of the 
victorious side: unhindered by fears that an "open society" would be vul- 
nerable to communist manipulation, the past ten years ought to demon- 
strate an ever-widening, more participatory democracy in the United States. 
Interestingly, this is not the case. On the contrary, the past decade 
holds much evidence that the victorious side has failed the very principles 
that allegedly carried it to victory over the "evil empire." It's no secret, for 
instance, that the general public appears to have little faith ji that grefj, 
hallmark of democratic society, the election. For instance, in the 1 994 
mid-term elections, only 39% of eligible voters actually voted. On one 
level, the statistic serves as a devastating register of public apathy, yet this 
does not tell the entire story. Surveys reveal that voting is more popular 
among the wealthy, highly educated sectors of the population. To wit, the 
less money you have, the less likely you are to perceive the ballot box as 
making a difference (in the 1994 elections, only 27% of those with in- 
comes below $ 1 5.000 participated). Electoral politics has always been by 
and large a game for the wealthy and powerful, but recent years have made 
it even more true that on voting day, money talks and the rest of us listen. 
Some of tins is illustrated by the 1996 presidential campaign, in which 
candidates spent an estimated $800 million— a disgusting figure made all ■ 
the more so by the fact that if is three tunes as high as the cost of the 
previous election in 1 992. 

tain forms of centralized, even repressive control. Despite the much bally- 
hooed "end of big government," the state has in fact widened its powers in 
a number of ways, encroaching on civil rights and militarizing society 
through programs that emphasize anti-terrorism, the drug war, or immi- 
gration control. The abuses of "law and order," though, sometimes seem 
to pale alongside the everyday influence of cor- 
porations. Certainly, big business is far and away 
the largest contributor to the skyrocketing cost 
of running for public office. 3 But what is even 
more startling is the success elite planners have 
had in making market forces appear not just be- 
nign, but even benevolent and liberatory. We can 
find a laboratory of such a philosophy in Cel- 
ebration, the Florida town owned and operated 
by the Disney Corporation. Celebration, as New 
York Times Magazine put it, is "based on con- 
sumerist, rather than republican, principles," 
meaning that homeowners have been willing to 
surrender major decision-making to the corpora- 
tion so long as their property values remain high. 
The article quotes one resident as conceding, 
"This is no democracy, I know that. But, hey: 
it's the '90s." Accountable to no one but the 
wealthy few who can afford to buy significant 
amount of stocks, the appeal of corporate rule — 
an end to the bickering and inertia commonly un- 
derstood as "politics" — is eerily and uncomfort- 
ably akin to that of fascism. 

This is perhaps the final and most important 
wall in America today — the erosion of the very 
concept of public life. With corporations calling 
the shots and governments providing the fire- 
power, there is an almost palpable sense of dis- 
enfranchisement and despair." From the stand- 
point of what is "realistic," envisioning alterna- 
tives can be strenuous and even depressing. 

But here we must return our attention to the 
Berlin Wall, for what Stephen Steinberg says 
about maintaining the fight for civil rights holds true for democratic struggle 
across the board: "The lesson of history, imbued in the folk wisdom of the 
civil rights movement itself, is that it is important to 'keep your eyes on the 
prize,' and not be deterred by the seemingly insuperable obstacles of the 
moment. Typically the seeds of political transformation are planted by 
visionaries, and must wait for a more propitious set of conditions before 
they germinate and come to fruition.. .For this reason it is imperative to 
keep alive an emancipatory politics that is not tailored to 'political real- 

These are wise words, and the sentiment behind them was undoubt- 
edly familiar among those who maintained resistance to tyranny in Eastern 
Europe. Sometimes, the push for social change graces us with visible, if 
gradual, results. Other times, as when the Berlin Wall fell 10 years ago, it 
happens rapidly, catastrophically, a surprise even to those who worked 
hardest for it. Such upheavals may be sudden, but behind them lie the 
lives of people who labored intensively, even despairingly, with little more 
to go on than the faith that change would someday come. Today, our 
situation is much the same, and these are the standards to which we must 
rise. After all, their walls came down. Shouldn't it be our turn? 

The '90s have also witnessed an astonishing acquiescence to eer- 

The Berlin Wall was built in 1961; it fell in November of 1989. The US government 
officially ..recognizes September 2. 1945 as the start of the Cold War, and December 26- 

1991, as its: end. - ... .'.'.• .'.- '" 

''David Cole points out in No Equal Justice that the furor surrounding the OJ Simpson 
verdict was.that it inverted the standard results of the American criminal justice system: 
The features thai worked to Simpson's advantage, and that occasioned such outrage 
among whites, generally. benefit whites. : Whites have a disproportionate share of the 
wealtnhi oursocieiy, and [are more likely to be able to buy a good defense: white defen- 
dants generally face juries composed of members of their own race; and a white person's 
face is noistereotypkaily associated with crime. Thus, whafdisnrayedwrritesm Simmon's 
case is precisely what generally works to their advantage, while what blacks cheered is 
what most often works to their disadvantage." 
'Simultaneously, objections have been raised to campaign finance reh 
that capping such contributions would violate the First Amendment— which on y goes to 
show just how expensive "free speech", really is. 

*&i 1998, three of the nation's Top 10 selling prescription drugs were antin 
Prozac, me most famous of these, was number two on the list overall; thfe 
spot was held by Prilosec, which is osed to treat ulcers 

0«O«O QQQjO 

The Philosophy of Punk: More Than Noise! • Craig 


171 pages * $12.00 

AK Press • PO Box 40682 • San Francisco • CA • 94140- 




r # i 

A friend of mine gave this book to her mother for 
Christmas. A couple days ago I told her I was 
working on a review of it for Maximum and asked 
her about why she sent it to her mom. 

1 "It's the perfect gift for a mom like mine 
I who thinks that every punker is a Nazi. And, it 
emphasizes all the good things people do in punk 
without making punk seem too dangerous." 

And, that pretty much summarizes my 
; whole reaction to this book: it's a good gift to give 
your parents if you want them to stop worrying about your involvement 
in punk 

Don't get me wrong. Craig O'Hara's The Philosophy of Punk- 
More Than Noise! is well-researched and truthful. In fact, in his preface, 
O'Hara describes how he became involved in punk in the early Eighties, 
and our stories are similar enough that at first I hoped I had found a 
book that would chronicle and put into words so many of the powerful 
emotions that have kept me involved in underground music for so long. 
Fifteen pages in, I was looking forward to this book, but by the end of it 
I had to force myself to finish it off. 

It's unfortunate, because punk needs something to preserve and 
capture some of the energy and at least a sliver of the crazy, sometimes 
fucked-up ideas that float around this "movement". Punk is often 
chronicled by 'zines of limited distribution and records of limited pressing. 
Brilliant bands appear out of nowhere and fade within a couple years, 
totally unrecognized by the next generation of punks to come along. So 
many of the mediums that represent the spirit and aesthetic of punk — 
flyers, 'zines, and demo tapes — are transitory and disposable, and this 
makes books like Hardcore California (which O'Hara frequently quotes, 
by the way) so important. I had hoped that Philosophy of Punk would 
be one of those books. 

But, it didn't happen. Philosophy of Punk is frustrating, poorly 
written, and boring to the extreme. It has little or no new information 
to offer someone who has been involved in the punk movement for any 
time at all, and lacks the passion and enthusiasm that would make a new 
convert to punk want to delve deeper into the politics of the movement 
as a whole. It is a coldly academic book that would have made a better 
college term paper, and, to be honest, the only person I can imagine 
wanting to read a book like this would be my dad: someone with enough 
of an interest in the history of music to give a shit and enough 
misconceptions about punk to feel like he had really learned something 

But, then again, I'm not sure I'd want to foist something as poorly 
written as this book on anyone. O'Hara's style is dry and hard to read. 
The only parts of the book that come alive and capture any of the essence 
or raw energy of punk are the quotes from other punks, and even those 
moments are few and far between. Throughout, it is also hard to tell 


when O'Hara is describing his own personal political views or when he 
is attempting to describe what he sees as the philosophy of punk in 
general. Even worse, he adopts a manner of writing that gives us a 
sentence like, "More important than accepting one's alienation, the queer 
must be able to look for the reasons as well as other examples of alienation 
and oppression outside of his/herself." Or, "There is little evidence of 
the holistic environmental idea that allows for (and in some cases obliges) 
the killing of animals, even in debatable cases of overpopulation." What? 
Why don't you just drop the intellectualism and say what you mean? 
Honestly, Craig, you end up sounding like a bureaucrat and your book 
ends up reading like a government document on punk rather than an 
insider's view. 

Additionally, I was just plain confused by O'Hara's use of photos 
in the book. First of all, there are no captions explaining the relevance 
or importance of any of the pictures. The pictures are simply labeled 
with band name, place, and date. Then, they are just scattered in a 
haphazard way throughout the book. It was annoying to find pictures of 
interesting bands or people on a page without any mention of them in 
the text, and in some cases bands were placed in entirely inappropriate 
chapters. Since there are no captions to tell us otherwise, are we supposed 
to assume that Scared of Chaka are a skinhead band? That Circle of Shit 
are a well-known straight-edge band? That The Descendants defined 
the anarcho-punk sound? Or, that SNFU represent DIY ethics? And, just 
what in the hell is a picture of Pig Champion doing in the chapter "Sexism, 
Feminism, and Open Homosexuality"? I'm sorry, but there's no excuse 
for that. It's just downright lazy to have thrown the book together that 

And, speaking of laziness, O'Hara also did a piss-poor job of 
updating this book for the late Nineties. There is no mention of how the 
increasing popularity of punk since 1992 has influenced, and watered 
down in some cases, the philosophy of punk. There is, in fart, very little 
updating of the book at all. A perfect example of this is how O'Hara 
discusses Tim Yohannon and MRR and Profane Existence. Rather than 
actually taking the time to rewrite the chapter on 'zines from the current 
time frame, O'Hara spends several pages talking about Tim Yohannon 
and Profane Existence in the present tense and then spends exactly three 
paragraphs stating that since 1992, Profane Existence has decided to call 
it quits and Tim Yohannon passed away. Again, that's just lazy. If you're 
going to publish a "new edition" and send out copies for review in hopes 
of publicizing it, the least you can do is actually revise what you wrote 
instead of just tacking on a couple of extra paragraphs here and there. 

Actually, O'Hara doesn't quote a single fanzine published or record 
pressed since 1992. He completely ignores any contributions to the 
philosophy of punk made since then and he totally ignores the ways that 
punk has been forced to adapt to its widespread popularity and increasing 
commodification in the past seven years. Whether we like it or not, 
punk means something entirely different to a generation of kids who 
came of age watching Green Day on MTV rather than hearingjello Biafra 
sing about how the Dead Kennedys were banned from it. However, not 
only is there little in the book about this commodification (aside from an 
offhanded condemnation of Chumbawamba for selling out— after quoting 
them as punk gurus a dozen or more times in other places!), but O'Hara 
does not mention at all how this process is undercutting punk's sense of 
itself as a threat to society as a whole. 

<8yDj© OQ.Qj 

In fact the notion of punk-as-threat is downplayed throughout. 
O'Hara presents a very safe-and-sane view of punk as a scene filled with 
do-gooder anarchists and deep-ecologists who only break things when 
guided by political principle. By ignoring the rebelliousness and seeming 
self-destructiveness that attracted so many of us to the movement, it 
not only ignores so many of the things that make punk fun, it also seems 
to say, "Don't worry about those punk rockers, folks. They may dress a 
little funny and seem a little strange, but underneath it all, they're a 
bunch of well-meaning kids who are out to make the world a better 
place to live in." Yawn. It makes me want to go out and litter just for 
the hell of it. 

Perhaps, however, the most discouraging aspect of Philosophy 
of Punk is that it is a book almost completely starved of passion about a 
movement that so many of us have passionately and energetically devoted 
our lives to. In that sense, it misses the point entirely and does not 
capture what I see as the central driving force behind punk — the idea 
that all of our political views, our anger, our frustrations, and our 
alienation from society at large can be translated into twenty-five minutes 
of adrenaline, sweat, and guitar-driven noise. 

Come to think of it, this is a book that I wouldn't even wish on 
my dad. —Doug Grime 

Trips: How Hallucinogens Work in Your Brain • Cheryl 


262 pages • $23.95 

Seven Stories Press • 140 Watts Street • New York • NY • 


I Cheryl Pellerin is an independent science writer 
1 for broadcast and print. Her work appears regularly 
-4 on both the Discovery Channel and The Learning 
J Channel. Her articles have appeared in 
I Environmental Health Perspectives, Industrial 
Robot, the Baltimore Sun, and the Washington Post. 
The idea for Trips is more than ten years old. In 
J 1986 Pellerin was completing her BS in science 
journalism at the University of Maryland, where 
she wrote her honors thesis on LSD research. A few years later, she 
realized the importance of writing a book that would make the news 
about the hallucinogens flowing out of 1990s research labs accessible to 
the general public. From 1991 to 1995, she attended technical meetings 
and seminars on hallucinogen research all across the country. 

This book won't tell you how hallucinogens work, because no 
one knows how they work on the brain, or much on how the brain 
itself works, for that matter. The author admits that a better subtitle for 
this book would be, "How all these really dedicated researchers have 
spent their careers studying hallucinogens so they can figure out how 
the brain works and every year they make little progress," and that 
pretty much sums up Trips. Most of the book focuses on LSD research 
and the rest is dedicated to other hallucinogens. 

Trips will inform you how neuroscientists, pharmacologists, 
medicinal chemists, and psychiatrists think LSD and other hallucinogens 
work in the brain, with cartoons, science illustrations, interviews, and 

«0 OO 0*0 O © 

research findings. Every so often, federal attitudes and actions related 
to drug enforcement regulation and public information are added, so 
you can kind of get an idea of what these doctors were, and still are, up 
against to get approval for testing drugs. 

In the interviews, Pellerin just lets the researchers and regulators 
speak for themselves, so you can get a feel for the perspectives of people 
who have studied psychedelics every day for years. You will read how 
they describe their work, talk about the research process, deal with 
other researchers and form opinions about the drugs they control and 
investigate and the people who use them. In the text and research 
findings, every phrase or word that might need explaining is presented 
in layman's terms. Add the well drawn illustrations, and you will have a 
better understanding of a subject barely understood. 

This book is worth reading, if not for the wealth of information, 
then for pages filled with drawings and comics by R. Crumb. I have 
never used hallucinogens, but if the time ever comes, because of this 
book I'll know which stories, flashbacks, dying brain cells, etc... are real 
and which ones are just stories made up by a government afraid it might 
lose its control on society. — Mike Sexx 

Great Pop Things The Real History of Rock and Roll 

From Elvis to Oasis * Colin B. Morton fi Chuck Death 

232 pages • $16.95 

Verse Chorus Press • P.O. Box 14806 • Portland • OR 


This collection of comic strips, also called Great Pop 
Things, is drawn by Chuck Death (aka Jon Langford 
of the Mekons) and Colin Morton, and reprints a 
lot of what has run in NME, the LA Weekly, Record 
Mirror, and New City, none of which I have read. 
The comic sets out to answer the question, "How 
can pop change the world?" and comes up with 
examples ranging from "Nazis try to change the 
world with their Wagner and fail dismally," to 
"Dylan: he tried to change the world by setting 
various suggestions about how the world should be changed to music 
and singing them with his acoustic guitar, then by making various 
suggestions about how the world should be changed couched in gnarled 
gnostic songs backed by a large electric rock band," to "Bruce Springsteen: 
he tried to change the world by giving his wealth away — which is 
actually quite a good way" to "the Sex Pistols: they tried to change the 
world twenty years after they had first changed the world." 

Many of the observations are witty and irreverent, but a lot are 
so steeped in British humor and musical arcana as to make them 
inaccessible. The focus is not all on punk and 1 got lost in references 
surrounding the Pink Floyd and Led Zeppelin stories. The authors never 
seem to run out of David Bowie material, which is overdone (not just in 
this book), but the Smiths/Morrissey satirizing is hilarious. Some of the 
bands mentioned, like Suede, Pulp, and Oasis, never reached pop-icon 
status here that they did in the UK, and those bits come off as dated. 
Most of the descriptions of artists, though, are amazingly accurate in 
their humor, my favorite being "Tom Waits: he tried to change the world 

Q*0«0 OQ&0 

by making that token weird album that normal people have in their 
record collections." 

Overall, the strips are funny and enjoyable, though the book 
meters quite a large dose. I'd suggest checking out the weekly segments 
in the publications mentioned above to see if it's your thing before 
running out to buy the book If you like them there, you'll love them 
here, but it's a weird book to jump into cold. 
— Brianna J. Chesser 

I Was A Murder Junkie: Hie Last Days Of GG Allin • Evan 


128 pages * $15.00 

Recess Records • P.O. Box 1112 • Torrance <A • 90505 

I The little blurb on the cover of this book says 
"before Marilyn Manson, there was GG Allin." Well, 
I you know Recess had to be kidding, because Marilyn 
Manson and GG have next to nothing in common. 
Manson doesn't have the guts to push the myth of 
rock to the extreme bordering on parody that GG 
I did, and Manson sounds better than GG ever did. 
But that's not really the point. No figure 
I in punk rock is easier to write about than GG Allin. 
' The man bashed his own teeth in, threw shit at the 
audience; destroyed his health and eventually sacrificed himself on the 
altar of self-destructive rock and roll. If you can't write an interesting 
story about that then well, you suck 

Evan Cohen does write an interesting story about his time as 
roadie on the last Murder Junkies tour, almost in spite of himself. This 
book could have been much better, and I'm sure as GG's corpse continues 
to rot we'll get better books about the man, but for now this will have to 

The parts of this story you're supposed to love, GG jacking off as 
teenage girls piss in his mouth, GG getting drunk and headbutting some 
girl, etc., etc., just come off as boring, tedious stories that don't compare 
to the hundreds of hours of live footage of GG that circulate throughout 
punk rock but the writing around these stories is interesting enough to 
make this book highly readable. 

I found it very interesting to read that while the Murder Junkies 
and poor Evan had to split a hotel room, GG got his own in which to 
cavort with the underage girls and drink himself silly, and that while GG 
didn't drive, he always road shotgun. Pretty rock star behavior for a 
punk band if ya ask me. But still, GG was always more rock-n-roll star 
gone bad than punk rock ideologue. 

And the money they were making! Jesus Christ — seven hundred 
to a thousand dollars a night — that ain't bad for throwing shit around 
and fleeing angry promoters. I'm told GG didn't see much — if any — of 
this money, which is a crying shame, 'cause we all know no one was 
there to hear the music. 

The story of poor Evan's fall from grace is interesting as well. 
Evan starts off the tour as a nice punk boy from New York, but by the 
time he gets to Chicago he's lost his sense of morality almost entirely. 
This passage of Evan thinking about littering in a house they're being 

» 00 &o © © 

put up in might give you a hint: "you wouldn't have thrown garbage on 
the floor in somebody's house — not before the tour — would you? I 
guess not. But God... I wonder what else I've been doing that I haven't 
noticed in the past weeks." Too much time with GG and you're throwing 
gum wrappers all over the place. 

Something else I found very interesting about the book is the 
whole locker-room mentality that seems to permeate the hotel 
shenanigans. The drummer sticks a cane up his ass, so GG sticks it 
further up his. Proof that he's a bigger sleazebag. Evan doesn't get laid, 
so he's a fag, and GG gets all the girls to piss on his face, so he's not. 
Funny how the frat house mentality permeates even this most debauched 
of arena's. 

Is the book good? Not really. Parts of it are very poorly written 
and the type is way too big. Did Evan really not have anything else to 
say? There's little talk of GG's death and really not all that much detail 
of life on the road. I happily would have read a hundred more pages. IS 
the book worth getting? Definitely, if only because of the slight insight 
it gives us into the world of one of the most important people in punk 
I hope this will spark someone to write a better book but for now I'm 
happily with what little information I got. 
— Sean Sullivan 
PS. Don't even bother with the CD. It's worthless. 

The Conspiracy Reader • Compiled By Al Hidell and Joan 


337 pages* $18.95 

Citadel Press • Carol Publishing Group * 120 Enterprise 

Ave • Secaucus • PQ • 07094 

wasn't looking forward to reading this. Like 
probably most of you, when I think of conspiracy 
theory, I think of ranting right-wingers or Trekkies. 
I have no problem believing that groups of powerful 
men make decisions and plans to commit crimes, 
and that most of the atrocities committed on earth 
are done so deliberately. In fact, I find this 
explanation to be much more plausible than some 
vague idea of random circumstance. The average 
I person's refusal to believe in conspiracies has 
always seemed to me to be based on the notion that "people wouldn't 
do that", a notion that has always struck me as more wishful thinking 
than actual belief. However, thanks to the media, (and the 
aforementioned Trekkies) the idea of officials colluding to manipulate 
power has gotten totally wrapped up with stories of alien nasal probes 
and Jesus aspirations in tortillas. (The oldest trick in the book? Associate 
your critics with nutjobs). 

Well, this book has both. The people who put this together edit 
a magazine called Paranoia, a 'zine dedicated to conspiracies. There was 
a lot here which made me think, and a lot that was just plain dumb. All 
of it, however, was rather entertaining. When one gives up the feeling 
of being embarrassed for getting into this X-File stuff, there is no doubt 
that it gets the mind working and offers interesting ways of looking at 
stories, especially ones we thought were "old news" to us. A theory 
doesn't always have to be backed up with tons of facts; often it is enough 

Q«©«© ©Q&© 

to point out the idiocy of the Official Story. Raising questions and 
exploring possible explanations doesn't have to mean you totally believe 
these theories, only that you are able to entertain possibilities. 

We start off simple enough: JFK (speaking of idiotic official stories). 
I certainly have avoided much of the hoopla on this topic for some time, 
so I may not be the best judge, but I was quite intrigued, and found this 
to be something I haven't heard before. Ted Kennedy and Chappaquiddick 
come logically out of that; again, some new thoughts (to me) and by the 
time I got to "Who Killed Yitzhak Rabin", I was getting pretty hooked. 
Then, the aliens. David Bowie? Alien? He had all those songs— please. 

But then it's right back into it, the MOVE raid in Philadelphia, 
Leonard Peltier, secret societies, CIA, Nazis, mind control... All of this 
was fascinating. Once 1 got over my "they aren't gonna fool me" attitude 
and let it roll, not only was I genuinely entertained, but forced to rethink 
what I had thought before, and face that there was so much that didn't 
make sense about things— who is to judge what is "far-fetched" and 
what is "fact"? Most of the book is written in essay form, with some 
interviews to round it out. Well written, dynamic, engaging. I was 
pleasantly surprised. I am reminded again that my personal biases are 
quite arbitrary and serve little purpose but to limit my own mind. I 
wouldn't say that I'll be going to any conventions anytime soon, or starting 
a radio talk show, but I don't think I'll be quite as prejudiced against 
conspiracy theories in the future. It really doesn't hurt to listen to a 
theory, even if only to make you examine and reaffirm what you believe, 
and there is always the chance that something new may be suggested — 
either directly or indirectly. 1 suppose on some level it still does a 
disservice to write about Paul McCartney having Lennon killed in the 
same book as a case of the US government framing a Native American 
activist, but if you look at it from the point of simply opening your mind, 
there may be more than you were presented with, it all starts to fit into 
place. — Gardner Fusuhara 

Billy and Girl • Deborah Levy 

185 pages '$13.95 

Dalkey Archive Press * Illinois State University • Campus 

Box 4241 • Normal * IL * 61790-4241 

Billy and Girl 

* Buvei fry tM$»raJt tw$ 

I In the last forty-some years, since the end of World 
War II also signaled the end of England's status as 
I international string-puller, the British literary 
'b scenes have produced an extensive body of work 
shaped by acidic anger and hopelessness. Themes 
of urban decay, cynicism, and moral alienation recur 
in everything from the works of Alan Sillitoe and 
the Angry Young Men to more modern writers like 
Irvine Welsh, Iain Banks, and Alan Moore. In some 
ways, the social progression of Britain might be 
seen as a prophecy of what waits for the United States; many of our own 
social trends, like violent ruptures of class divisions and mass alienation 
from the political system are only less advanced versions of trends that 
have been extant in Britain for years. 

In Billy and Girl, Deborah Levy seems to be trying to add to that 
tradition by creating a postmodernistic tale of childhood that combines 
vicious rage with absurdist comedy and a tragic view of what childhood 

jD OO &O © © 

really is. Unfortunately, what she comes up with is something rudderless 
and self-satisfied that chokes on its own P0M0 hipness. 

Billy and Girl are brother and sister; they live alone, and are 
fifteen and seventeen years old, respectively. Mom left them several 
years ago, shortly after an accident which involved their father catching 
fire. They haven't seen him since, and he's assumed to be dead. The 
two of them support themselves through Girl's job at a supermarket 
called FreezerWorld and money their grandfather sends them 
periodically. Girl spends her spare time searching for their mother by 
going door-to-door or through local stores and randomly addressing 
women as "Mom". Billy spends his time dreaming about being a plastic 
surgeon or psychiatrist in Hollywood, surrounded by blondes with 
massive breast implants, and writing the definitive book on pain. 

Beyond this, it gets very difficult to say what the book is actually 
about. The plot weaves almost randomly through various viewpoints 
and obsessions, zigzagging all over the place, but never really moving in 
any real sense except when it absolutely has to. In addition, you never 
really get the sense that you've been allowed near the real core of the 
character; there is never any compelling reason for the reader to bond 
with the characters, so complete and overwhelming is their postmodern 
detachment. Both Billy and Girl are driven to find "Mom", something 
which makes sense on a straightforward, intellectual level, but thanks 
to the slickness that pervades Levy's writing style, it's never something 
that hits at a gut level. We never feel the sense of desperation or need 
that must be driving the siblings to look so ceaselessly for their mother, 
and so it remains meaningless, just like the rest of the book. 

Writers like Irvine Welsh and lain Banks depend on an intuitive 
emotional connection between the reader and their characters to drive 
their novels home. Even when their characters are engaged in arts of 
grotesque cynicism and degradation, like murder or drug addiction, we 
can feel deep enough into their core to understand why they ended up 
in that situation. In the case of Billy and Girl, their actions seem arbitrary 
and directionless, and there's just no reason to give a damn. — Chris 

Ivan Petrov: Russia Through a Shot Glass • CS. Wilson 
241 pages * $12.00 

Garret County Press • 828 Royal Street '248 • New 
Orleans • LA • 70116 

j Have you ever had a feeling, whether it be from a 
I book, a movie, a television show, or any type of 
media, that something is doomed from the start? 
This book gave me that feeling. Not from the cover 
or the idea behind the book, but from the letter 
the publisher sent with this book The feeling of 
I approaching doom was derived from the signature 
I of the publisher, one Harvey Wallbanger. Now, I'm 
all for comedy, for laughs, etc.— but this just reeks 
of smugness, of thinking yourself a little more hep 
than the rest; basically it pissed me off. As I opened the book and began 
to read I tried not to let that ruin my judgment. I needn't have worried, 
there were plenty of things to dislike about this book other than the 

Q«O<0 OQ&0 

This book purports to be about Ivan Petrov, a Russian vagabond. The 
author and publisher would like you to believe it is a document of his life and 
times, from the days of Stalin's rule through today. They also want you to see 
this book as some kind of deep telling of the failure of the Russian culture. 
What you get in lieu of that is nothing but the story of a drunk It does not 
matter one bit that the protagonist of this tale is Russian he could be of any 
nationality and the book would remain the same, just with different names of 
the towns and cities. The story is one that has been told numerous times over 
the years and it has been lived by many before, from Boxcar Bertha to Herbert 
Huncke, to any number of people riding the rails, drinking and surviving 
today. The difference being that Bertha and Huncke told stories a bit deeper 
than "I got drunk I got arrested, I got released, I got a job, I got drunk..."— 
wash, rinse, repeat For two hundred and forty-one pages it's the same endless 
story and it gets a little old. By the end you are praying that our pal Ivan will 
die of alcohol poisoning or a beating Alas, that never occurs, and we are left 
with an epilogue that finds good old Ivan alive, in the States and, you guessed 
it, drunk 

If the reader has had any type of history teaching in their past that 
even touched on the Soviet Union they will glean no new information from 
this book other than the fact that there were a lot of people drinking just 
about anything they could get their hands on to get and stay intoxicated. As a 
sociological or historical document it offers nothing As sheer entertainment., 
well, it offers none of that either. 

If there had been something else beneath the surface, some saving 
grace, this book may have been passable. However, the writing is in need of a 
stronger editorial hand, the flow of the book is incongruent and the language 
too simple at points. Just because you are an independent publisher, this 
does not give you the right to pass pap for art 

I'm sure everyone knows someone in their life that continuously 
replays the same stories over and over. A very boring proposition, correct? To 
anyone that has read any type of beat literature, this book will remind you of 
that friend and how much you dread it when they open their mouth. — Trent 

Seek! • Rudy Rucker 

364 pages- $35.00 hankxwer/$i6.95papert)adk 

Four Walls Eight Windows -39 West 14th St -New Yoric- 

Of cyberpunk's fab four (Shirley, Gibson, Sterling, 
Rucker), Rudy Rucker always impressed me as the 
genre's JRR Tolkien, with his capacity to sustain 
imaginative alternative realities that border on the 
fantastic in his fiction. Rucker compares himself to 
William Burroughs, "with his wise, dry voice of 
iaciti hallucinatory erudition and his rank frankhumor" in 
his somewhat tongue-in-cheek analogy between beat 
and cyberpunk literature in "Cyberpunk Lives!", one 

I of thirty-two essays in this non-fiction collection. 

Meant as a companion volume to Rucker's collection of short stories called 
Gnarl!, to be published next year, also by Four Walls Eight Windows, Seefc'is 
a somewhat mixed bag. 
That's in part because the book is intentionally eclectic a free-ranging 

«o 000*000 

compilation of articles, interviews, manifestos, book reviews, travelogues, 
musings, rants, and random notes. The previously published and unpublished 
pieces here span almost two decades, and sometimes don't comfortably fit 
even Rucker's broad categories of science, life and art Seek! encompasses 
everything from aspects of Rudy's family life, his personal interests in 
pornography and religious mysticism, and his sobering up after years of 
beer and pot to "Itjhe electroshock excitement of the computer graphic world 
I...I the thoughtful artfulness of writing [...I the clarifying formulas and 
occasional revelations of math [...Land the humble public service of teaching 
I...1" Don't get me wrong Rucker is frequently brilliant, but an anthology 
this catholic is bound to be uneven. The book's shotgun approach lays 
down a wide buckshot pattern in the hope that the majority of shot hits it 
mark Over half of the essays in Seek! do connect which is another way of 
saying almost half of them don't 

"Life" is the weakest section of essays, with far too many tedious 
travelogues merely filling pages. That said, Rudy's hilarious story of making 
drunken threats against Jerry Falwell ("Jerry's Neighbors") and the poignant 
"dog-happy" eulogy for his orange and white collie/beagle ("Memories of 
Arf" ) stand out Rucker is stronger when talking about "Art," and in his 
element when discussing "Science ". Both sections dish up sometimes thought- 
provoking, occasionally dazzling ideas, ranging from his assertion that it's 
much more important to create artificial life than artificial intelligence, to his 
notion that "[plornography is always the first private use of any new media 
technology." He offers a convincing definition of cyberpunk fiction around 
the themes of "the fusion of humans and machines" and "a desire for a 
mystical union with higher consciousness," yet his effort to elevate the science- 
fiction genre into a literary movement through "transrealism" amounts to 
little more than an unimaginative hack on magical realism, with backhanded 
admonitions for SF authors to write better. "A Brief History of Computers" 
tosses Thomas Pynchon, Fritz Lang and Allen Ginsberg into the mix with 
Babbage, von Neumann and the usual cyber-suspects in a literate, entertaining 
survey that still manages to miss the obvious. One product of the human 
mind, computing machines, have served as metaphors for the human mind 
and the world those minds perceive ever since Babbage conceived of his 
difference and analytical engines— the metaphor evolving with each of Rudy's 
six computer generations. Rucker's robots and cellular automata, no less 
than his use of parallel computing as some ultimate cosmic allegory (as when 
he assumes "(t)he world has been running a massively parallel computation 
for billions of years ") are the latest historical incarnations of this rather tired 
fallacy that equates man or life or the universe with the machine under the 
noble guise of ferreting out some universal operating instruction to everything 
("All is One. U The One is unknowable. [...] The One is right here... ") Rudy's 
holy grail fantasies of the "simple computer program type thing that is the 
universe — not a model of the universe but the thing itself occasionally 
read like a Silicon Valley rewrite of a Dr. Bronner's Pure Castille Soap label. 
As a struggling SF writer, I'm always interested in material I can mine 
for story elements and plots. There are enough interesting ideas in Seekfs 
grab bag that I can recommend it for a fairly good read. Buying the book 
even in a $17.00 paperback, is another matter. The damn thing doesn't have 
an index, so its reference value is extremely limited I got it in hardback and 
for free to review, but I would pick it up at my favorite used-book store, 
where I'll probably sell this review copy. Not even the diehard fan who 
needs to own everything Rudy Rucker ever wrote should have to pay $35 for 
the hardback —"Lefty" Hooligan 



There is nothing more stupid than to go to a Grateful 
Dead concert in San Francisco. I have never been to one, but a 
simple walk down Haight Street on a Saturday afternoon reaffirms 
this for me. People who weren't'alive in the '60s pretending to live 
in their warped version of the summer of love. Yuck. Since 1 live in 
San Francisco and the Grateful Dead are no more, I decided to do 
the next worst thing, go to see Jerry Garcia 's favorite movie. 

It amazes me that a 3-hour Polish film from 1965 that 
takes place in Spain would be aimed toward hippies. They made 
Fillmore-style posters that said, "In Memory of Jerry Garcia, Francis 
Ford Coppolla and Martin Scorsese present The Saragossa Manu- 
script. In fact, it was quite funny to see the so-called hippies leav- 
ing the movie about halfway through. It's a fantastic film. It didn't 
center on hippies or drugs or the '60s so I guess they were mislead, 
but it was a good marketing concept to get people to go see this 
great movie. Those responsible knew it would work and since hype 
is what gets people to the movies these days, they did what they 

Rekopis Znaleziony u> Saragossie (The Saragossa Manu- 
script) is an incredibly beautiful film with a very twisted plot line. 
I guess that's why Jerry liked it so much. It is kind of trippy. The 
film had been edited down many times from its 3-hour length since 
it was originally released in 1965 and parts of it had been lost for 
years. Jerry Garcia was the one who set out to have it restored to its 
original state, though he did not make it to see the final product. 
That's when Coppolla and Scorsese come in. The hardest part is to 
overlook all this outside nonsense that had nothing to do with the 
film, but you should. The film is worth it. 

The Saragossa Manuscript is an amazing collection of 
stories; each one appearing inside the other and in the end it all 
makes sense. The film starts out during the Napoleonic war on the 
streets of Madrid. One of the soldiers finds a book in a building. 
The French army moves forward, then retreats. The Spanish at- 
tack, but the soldier is so fascinated by the book he stays behind to 
read it, although he does not speak the language. The Spanish sol- 
diers invade the building where he is, but he still doesn't move. 
The captain of the soldiers starts reading too. He says it is the story 
of his grandfather and begins to translate it, sending the soldiers off 
to fight. 

The rest of the movie is the story of an army captain 
named Alfons. He is heading back to his family in Madrid. He has 
to pass through the land of gypsies and inquisitors to get there. 
Some of his men get scared and take off. He decides to spend the 
night in an inn. The inn is somewhat haunted and each time he 
tries to escape, he ends up back in the same place. Fortunately, for 
us he enters the inn each time. He encounters two Moorish women 
whom he marries (both of them) at their request, a priest who is 
exorcising a man, priests of the inquisition who want to kill him for 
heresy, a noble man who says he wants to help him escape, but is 
really trying to set him up. 

Each person has a story to tell and by the time Alfons ends 
up at the nobleman's house, the storytelling begins go inside one 
another until the point where people in the audience start groan- 
ing (at least at the screening I attended). A person inside a story 
would say, "I have a story to tell" and so on. At one point, the film 
was 5 stories within the original. It was incredibly fun for me, though 
I'm sure incredibly confusing for the hippies and the couple mak- 
ing out in the aisle in front of me. I like the obnoxiousness of the 
story within a story within a story, etc. I think the director Wojciech 
Has was having a good time too. At one point in the film, a refer- 
ence is made to all the stories being told and an inquiry as to whether 
we are following what is happening. The characters are asking each 
other, but you know the point is directed to us as viewers. 

The film is shot beautifully too. It is done in black and white 
with a great deal of landscapes. The various themes of death, love 

and honor are all represented by appropriate symbolic settings. The 
recurring shots of two hung gypsies, surrounded by lots of skulls, 
the busy streets of Madrid and the sword fights. The film is shot in 
a serious way that lends to and exaggerates all the comic details 
occurring throughout. There are some brilliant comic bits. Alfons' 
father is constantly getting into duels. When he loses to one gentle- 
man, he apologizes for disturbing the man's dinner. 

If The Sargossa Manuscript is not out on video (I haven't 
been able to find it), I am sure it will be soon. The film was based 
on a book by Jan Poticki who committed suicide a year after the 
book was published. I'm sure there are some underlying themes 
that I was able to discover the first time around. I really want to see 
it again. Don't let the Jerry Garcia thing or the length bother you. 
It is a fascinating film filled with interesting scenarios. In the end, 
they all come together. 

Another film in the same vein I saw was Wandafuru raifu 
(After Life). This was a Japanese film by director Hirokazu 
Korededa. In this film, we experience a week in the waiting room 
for the after life. The recently deceased check in with a reception- 
ist and then meet in a conference room where they are told that 
they need to pick one memory from their life that they would like 
to take with them to the next. The memory will then be filmed by 
the caseworkers so they may take it with them. Each character is 
then sent to a private room where they meet with their caseworker 
to discuss their memory and get the details for the reenactment. 

There are many inconsistencies in the plot line. The biggest 
one being why do they have to reenact the memories and make 
films when videos of each person's entire life are available. I figure 
it has to be that people's memories of an event are always different 
from the actual events, so I can easily let that one pass me by. Al- 
though, I figure if 1 end up in this place it probably won't be with 
such a diverse group of people. I'll end up in a room with a bunch 
of Johnny Thunders wannabes or something almost as bad. At least, 
according to this film, we wouldn't have to interact too much. 

Most of the characters make up their mind pretty quickly, 
but there is the one guy who doesn't want to remember anything 
and the rebellious 2 1 year old who won't choose a memory, not 
because he can't, but because he won't. The two characters are 
interesting, yet annoying at the same time. Though, it's the 21- 
year-old who eventually helps the man make up his mind. 

Interspersed with the stories of the deceased is the story of 
the people who work in this place. How did they end up there? 
Why did they get chosen for this work? Etc. This to me was a more 
fascinating plot twist. I was wondering about it from the begin- 
ning. They seem to have a past as well as present life with this job. 
There was even the insinuation of a little romance going on. The 
film does give me enough details about this that I was satisfied, I 
won't give it away. See it for yourself. 

My final film for this month was a funny little short film by 
an Oakland filmmaker Grady Runyon called Slammy Windshield. 
The film focuses on an aging rocker named Slammy who has pretty 
much given up on the rock and roll life style. He drinks and eats 
constantly, but manages to keep up his yard. Then he gets a call for 
a comeback show. 

The film was shot on video, which in this instance adds 
a washed-out style to a washed up rocker. Although, the medium 
was probably chosen for monetary reasons, it works on other levels 
nonetheless. The storyline accentuates the amateurish filmmak- 
ing to a point that you wonder if maybe it was done that way pur- 

The attention to detail is nice. Slammy is obsessed with the 
color red. His guitar is red. He eats red food. He drinks Tecate beer 
(red cans). He wears red clothes. Even his wife and child wear all 
red. Though it is a tragic story, the comedic parts (everyone loves 
to laugh at aging rockers) build the story nicely. He may be a washed 
up rocker, but we feel for him at least a bit. 

At the screening I went to at a small, but crowded venue, 


people cheered for Slammy, but were silent at his demise. Although, 
I think it was Slammy's dog played by Falstaff who had the most 
fans. People shouted "Falstaff" every time he appeared. 1 heard there 
is going to be a sequel and both films are to be shown back to back 
in the future and will also be available on video. - Carolyn Keddy 

The New Scl-FI Revisited 

Science fiction films, with plots beyond simple logic and 
special effects that frequently upstage everything else, can't be 
touched for sheer spectacle; unfortunately, your average sci-fi 
flick from any era has the shelf life of warm cheese. After a few 
decades, they're farmed out to rep theaters for camp value. 

If you ignore early career throwaways like Rabid and The 
Brood, David Cronenberg seems largely to have escaped that 
fate. His latest, eXistenZ, takes on an addiction William Bur- 
roughs might not have anticipated in Naked Lunch — the fash- 
ion of video gaming as a means of expanding the envelope of 
virtual reality. Hiding behind rows of evenly ordered crinkly and 
straight blond hair, master programmer Allegra Geller (Jennifer 
Jason Leigh), basically a retiring sort, has invited beta-testers to 
try out her latest video game masterpiece, which she calls eXis- 
tenZ. It's a multiplayer role-playing game that by-passes com- 
puter monitors with meta-flesh game pods that hook right into 
your nervous system through a port installed at the base of your 
spine; the pods themselves are rubbery, semi-living organisms 
that exist only to play, and offer a game experience beyond pix- 
els, and as vivid as life. 

No sooner are the beta testers plugged in then a gunner 
springs from the audience. Using a gun made entirely of organic 
material (a neat ploy to pass security), the assassin shoots hu- 
man teeth like bullets to try to kill Geller. He's terminally sub- 
dued by a gun-toting security team, but not before Geller and 
her game pod are injured. Now it's up to marketing executive 
Ted Picul (Jude Law) to guide her to safety and find someone 
who can repair her pod, which has the only copy of eXistenZ in 
its memory. But she has a price on her head from shadowy dissi- 
dent elements, and even her biggest fans find it easy to succumb 
to greed. No one can be trusted. Except maybe Picul, who has to 
prove his trustworthiness to Geller by getting a game port in- 
stalled in himself. Playing games, it appears, you can discover a 
person's true nature. 

And so they hole up on a cheap motel and play. Real-life 
gamers will be amused by this virtual world segment of the film, 
a droll parody of the contrivances programmers put into their 
games; non-computer owners may shake their heads, confused. 
As the pair steps through what seems like the next level in their 
understanding, a murder plot surfaces, and suddenly Geller (or 
rather, her gaming alias) is the victim of a plot all over again. 
Picul's weapon just happens to be the same organic gun that had 
almost killed her in the real world, and to their surprise, the 
game is gradually forcing both of them into actions disassociat- 
ed from their real-life identities. 

Cronenberg 's play on game culture takes its cue from a 
wealth of games that call upon the user to shoot, fight, vaporize, 
or run over victims. You'll find Cronenberg's style of allegory 
similar to They Came From Within; there , the excesses of the 
sexual revolution are imaged as an invasion of phallic slugs, red- 
dish creatures that enter their victims through any convenient 
orifice and force their host into every manner of perversity in 
the name of replication. Here, the director poses a question rather 
than making moral judgments: at what point does virtual reality 
cloud a person's ability to perceive existential reality? I person- 
ally think that gaming's worse side-effects are flabby butts and 
minds, but the heady concepts in eXistenZ will fire synapses in 
the most sedate computer zombie. 

Last year, when the new print of The Saragossa Manu- 
script made a city-by-city tour of international art houses, it was 

hard to imagine how an unclassifiable art film — a very long 
unclassifiable art film, from Poland — could possibly find its 

Repackaged for the '90s as a psychedelic retro-hit, it's hard 
to classify The Saragossa Manuscript , a 1 965 cult classic based 
on a decameron by 19th century post-Renaissance man Count 
Jan Potocki. A fantasy, an adventure saga, a philosphical 
puzzle.. .whatever genre this three-hour movie fits into, it was 
significant enough to attract the attention of Martin Scorsese 
and Francis Ford Coppola, who collaborated to restore the film 
to its original length and anamorphic glory, with subtitles you 
can actually read. I don't pretend to have any critical distance 
when it comes to this film, and neither do its adherents. Reviv- 
als bring in sellout crowds; even the late, great Luis Bunuel ad- 
mits its one of the few films he's seen multiple times. It's se- 
duced me back into the theater a half dozen times since 1966. 
Count d'Olavidez (the late Zbigniew Cbulzki, dubbed "the 
Polish James Dean") is an obstinate, spoiled soldier and scion of 
privilege who proves his bravery by crossing the Los Hermanos, 
a mountainous region said to be filled with robbers and ghosts. 
The count's hired servants flee before nightfall (at about the 
time when evil spirits are rumored to appear), so he camps at an 
abandoned inn, the Venta Quemada. This sets him at the nexus 
of a terrifying conspiracy that may or may not be a product of 
his imagination. 

Two semi-clad Moorish girls at the inn seduce and drug 
him; when he awakens, he finds himself on the ground near the 
gallows, inches from the corpses of two hanging thieves. A priest 
tries to convince him that his stay at the Venta will most cer- 
tainly end in demonic possession, and he's willing to prove it. 
(It's there that the count gets a chance to meet Pascheco the 
possessed goatherder, whose eye was clawed out after his fateful 
visit to the Venta.) Later, when the Count falls into a small 
group of friends, a cabalist warns him of irresistible forces that 
are shaping his life, a gypsy taunts him with bafflling stories, 
and a philosopher goads him with abstruse theories on the pur- 
pose of existence. And a huge manuscript appears and reappears, 
a book that tells the story of his life, almost as if it's already 
occurred. All of this happens in stories the characters tell one 
another, and stories within those stories, in dreams, and within 
still more stories, until one by one the tales interlock around 
him. The count's sanity begins to erode, as it would for anyone. 
Is he possessed by demons of the Venta Quemada? is his only 
hope for an answer locked somewhere in that forbidden place? 
Or is he only the enlightened hero of a tall tale in a book, priv- 
ileged to know he's a character, but unable to break loose from 
the fictional reality that surrounds him? 

Potocki's decameron was devised originally partly to sup- 
port the cause of science, but director Woiciech Has concludes 
his adaptation after having presented only thirteen of its most 
superstition-tinged chapters. It was a smart plan by a director 
known for meticulous adaptations. The Saragossa Manuscript 
leaves us with equal measures magic and burgeoning humanism 
— very much the way the world must have appeared to the book's 

Poor Count d'Olavidez finds his mental resources sorely 
taxed along his adventures, and some audiences may feel the 
same way; at one point, the stories within stories get as many as 
nine levels deep. Philosophical puzzles add yet more amiable con- 
fusion. Cronenberg manages alternative reality as if life were 
like the multiple skill levels of a video game; The Saragossa 
Manuscript is more generous in the handling of its realities, 
taking the viewer through its levels like an elevator in a tall 
building, each floor opening into an exotic set of suites. 

My advice? Take a ride. And if you do see it, be sure 
it's in a theater, where you can catch every inch of its incredible 
black and white ultra-widescreen photography. - Steve Spinali 



The Little Deaths NOVEMBER Tour Dates 
( ** indicates Fighter D also playing) 

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23 band. 28 song CD- $3 

disributed by Hep Cat and Valley. 

Slap Happy Records 

Checks, cash or MO. p~ rtny 249 

Add $ 1 for shipping if -^ _. ttAtl1A ' IIE . 

order is under $10. Vj/tOn, CA 94514. USA 

Canada & Mex must Use your credit card at 
add $2, $5 world, www^ 

Vancouver this is it 7" 

also available 
Split 7" with Patron Test 

$3 ppd. moc record. 

214 hawley lane 

geneva, I L 60134 

11 sony EP of spastic thrash core 

$3.50 U.S. ppd North America. 

$4.00 U.S. ppd World. Trades tine. 

write first. Bands send demos for 

upcoming global thrash compilation LP! 

Soapdodgcr Productions 

634 Millwood Rd. Toronto, 

Ontario, M4S 1KB CANADA 


The Weakerthans 

FallOW SC006-lp/cd/cs 

out 10/26/99 

Bi-polar prarie rock from Winnipeg, Canada. 
Featuring John Samson (ex-bass/vocals for Propagandhi). 
This release benefits The Mount Carmel Clinic in Winnipeg, Manitoba. 

also available from SUB CITY 


MAILORDER PRICES: CD: S10 SAMPLER: $4 LP/CS: S7 KD: $S KT:$iiiima!n«MnM8.MS%iiiat«7K«s 





BOTCH "we are the 

romans" cd/2xlp I 

to abolish the divine" od/lp 

KEELHAUL "ornamental 
iron" 7" 




COALESCE "012" Ip only 


"calculating infinity" Ip only 


cave in / botch split 7", 

cave in "creative eclipses" 

cd ep/7". isis "red sea" cd 

ep/8". coalesce "there is 

nothing new under the 

sun" cd/lp 

PRICES: 7": $3.50 usa/ 
$6.5 overseas - cdep/8": 

$6.00 usa/$9.00 overseas 
- cd/lp: $10 usa/$14 world 


we also have t-shirts, 

stickers, posters, and a lot 

more records, for a 32 

page catalog, cd 

sampler, and some stickers 

please send $2 in the usa 

or $4 for overseas, thanks. 


RECORDS: p.o. box 

990248, boston, ma, 

02199. usa. I website: I 


fibulad by lumber) 


Send MRR your release for review. Don't send wimpy, arty, metal, MTV corporate rock shit here. Don't have your label give us follow-up calls as 

to whether we received and are reviewing a record. We want punk, garage, hardcore, and will review all those that fall within our area of 
coverage. Include ppd price when mailing. If possible, send 2 copies of vinyl records (1 for MRR, 1 for the reviewer). We will review CDs, but just 
CD-only releases. If on vinyl and CD format, send us the vinyl. We are reviewing cassettes again, so send HIGH quality cassette-only releases 
directly to: Erin Yanke, PO Box 1113, Portland, OR 97207. No reviews of test pressings or CD-Rs. Specific criticisms aside, it should be under- 
stood that any independent release deserves credit for all the work and money that goes into it. Staff: (PA) Peter Avery, (PB) Paul Barger, (EC) 
Enrico Cadena, (BC) Brianna Chesser, (RC) Rob Coons, (AC) Arwen Curry (DD) Dr Dante, (NF) Neale Fishback, (JF) Jonathan Floyd, (BG) 
Brian Gathy, (LH) Lance Hahn, (JR) Jeff Heermann, (TH) Tom Hopkins, (TJ) Tobia Jean, (KK) Kenny Kaos, (CK) Carolyn Keddy, (DL) 
Dulcinea Loudmouth, (RL) Ray Lujan, (BM) Bobby Manic, (TM) Timojhen Mark, (HM) Hal MacLean, (AM) Allan McNaughton, (RM) 
Raymundo Murguia, (JN) Jah Nell, (DP) Donna Poole, (SR) Sandra Ramos, (BR) Bruce Roehrs, (SS) Steve Spinali, (ST) Sean Sullivan, (JV) 
Jason Valdez, (MW) Max Ward, (RW) Ryan Wells, (SW) Shane White, (JY) Jeff Yih, (RY) Rema Young. 

ACCUSED - "Paint It Red" EP 

Whoa! That's right, you read 
it correctly, a new rucking ACCUSED 
record. Weil it isn't exactly new. The 
material on the record includes some 
live stuff, ROLLING STONES and 
DAMNED .covers, as well as some 
weird-ass prank call sent in by a fan 
back in 1989. This comes with some 
killer art work, is on blood red vinyl, 
and is hand numbered and limited to 
300 copies. Let the e-Bay bidding 

begin! (RC) 

(Transparent, 6759 Transparent Dr, Clarkston, MI 48346) 


GEANCE- split EP 

tracks aren't as good as their debut EP 
on Back Ta Basics, but they hold their 
own. They play the ultra metal hard- 
core that has saturated the scene in the 
'90s, but with a little more flair and 
style that separates them from the rest. 
ALL BETS OFF is mediocre at best. 
As with most splits, one band seems 
to overshadow the other, and on this 
SWORN VENGEANCE do just that. (MW) 
(All Bets Off, 530 Divisadero #121, San Francisco, CA 941 17) 

ACHEBORN - "Tuesday Is Dead" LP 

This is certainly more than I thought it would be. I've liked their 
brand of caustic European hardcore in the past — just about enough 
metal involved to keep the MRR staff on their collective toes. They've 
outdone themselves with this though — it's got the same scorching 
songs and fastidious delivery, but they've (ahem) matured as well — 
and it's a good thing. I think it's tough to pull off an full LP in this genre 
and maintain the interest — I was plotting to get my own copy as this 
was ending. Well done. (TM) 

(Trans Solar Syndicate, Turmgasse 2/1, D-7 1063 Singelfingen, GER- 


b',:< 11 f n btars 

I AFFRONT - "Fallen Stars" EP 

Awesome youth crew from 
DC, and from their regional location, 
you're guaranteed to hear a lot of 
influences from BATTERY and 
I GOOD CLEAN FUN. It's a good 
debut and hopefully they'll keep at it. 
And once again, another fine record 
from... (MW) 

(Phyte, PO Box 90363, Washington, 
DC 20090) 


Two sides of art-damaged noise and experimentation. Warn- 
ing—not the AG ATHOCLES you might expect. Not sure if I like it yet. 
Makes me think of Kraut rock like CAN or NEU. Weird. I think there 
are only 100. Save yourself the bother. (AM) 
(TPOS, 12 Mill Plain Rd, Danbury, CT 0681 1) 

ALL THE ANSWERS - "The One Forgotten" CD 

AVATL-sty le melodic hardcore from Canada with decent lyrics 
about religion, school, conformity, the usual stuff. Two singers trade 
off, and one is good, the other is screaming and annoying, although a 
lot of people would like the screaming guy better. The guitar and bass 
are really good, and the drumming; not bad, though it could be faster. 
Overall a good band, but not the most original. (BC) 
(Traffic Violation / Box 772 / East Setauket, NY 1 1733) 

ALLISTER - "Dead Ends And Girlfriends" CD 

A strong pop punk release here in the WESTON meets early 
BLINK vein. This could almost fit in on Mutant Pop too. A very 
enjoyable feel-good release from a band new to me. Keeping the pop 
punk dream alive. (RL) 
(Drive Thru, PO Box 55234, Sherman Oaks, CA 91413) 

ANTI-DOMESTIX - "This Demon 
Called Love" 7" 

On first look I wasn ' t expecting 
much... funny, sometimes you get 
what you expect. Too much melody 
and not enough rock to make it OK. 
Let's just say if you like new lame 
emo and pop punk you might be mi Id- 
ly entertained, maybe even excited. 
I'm not sure, I don't know how you 
people think. (TJ) 

(Cheetah's, PO Box 4442, Berkeley, 
CA 94704) 

THE ATOMIKS - "Super Honky" CD 

It takes quite a lot to get through my jaded psyche when it comes 
to surf, garage and rockabilly bands. I hear so many so-so ones that it 
becomes a little tedious to listen anymore. The ATOMIKS have 
managed to get through. They play a nice little hybrid of rockabilly and 
surf; some rocking songs, some ballads and some instrumentals. A 
much needed breath of fresh air in the garage scene. (CK) 
(702, PO Box 204, Reno, NV 89504) 

AURORA - "Compilation 1983-1998" CD 

This release seems to be geared towards exposing this popular 
Hungarian band to a more international audience, because while the 
songs are all sung in their native tongue, the lyric booklet and sleeve 
notes are entirely in English. There's actually only one track (the best 
one, in my opinion) fromasfarbackas 1983,thenwejumpaheadto'88, 
apparently missing out on the period when members were doing time 
for having anti-communist lyrics in Soviet-occupied Hungary. Not 
something Jello ever had to worry about really, eh? The band seems to 
have played the same kind of poppy punk throughout their career, with 
variations in production values, members, and adding a trumpet to the 
mix in later years. Good stuff and worth checking out if you ever 
wondered what was going on in Eastern Europe before the wall came 
down. (AM) 
(Hulk, Eichendorffstr. 1, 93051 Regensburg, GERMANY) 

Life Of A Crime" 

Here you got a fun HI' juke- 
box-friendly single from 
The AUTOMATICS. Crooning about 
being a kid, not wanting to conform to 
the rules, just wantin' to have a HI' 
fun... reminds me of many moons 
back when I played "It's Not My 
Place" by the RAMONES to my mom. 
"See, Mom do you get it now?" I said. 
Well, she figured it out eventually- 
even started wearing my punk shirts to 
the grocery store just to fuck with me... so yeah that's what this record 
is good for... making Mom understand. Fans of the 
GROOVIE GHOULIES and Chuck Taylors take heed. (DL) 
(Just Add Water Rock And Roll, PO Box 420661 , San Francisco, CA 

AUTOMATIC - "Crossing Kill 
Creek" CD 

Well, it is cool that someone is 
trying to bring HC up to date. Sure, 
you can tell these guys have listened 
to DAG NASTY, as well as many 
postsXe HC bands, but they integrate 
those things into something of their 
own creation and personality. This 
has an honest (if occasional macho- 
HC's Achilles' heel) feel, and all the 
requisite aggression and drive. You 
can tell that it comes from LA, too, but 

that isn't all bad. (BG) 

(Indecision, PO Box 5781, Huntington Beach, CA 92615) 


AUTOMATIC - "Crossing Kill Creek" CD 

This is a little Hght for me, but it definitely has something. Catchy, 
good, and melody-driven with angst and passion. Reminds me a bit of 
EMBRACE— walking a fine Hne of shit I hate, but pulling it off and still 
rocking. (TJ) 
(Indecision, PO Box 5781, Huntington Beach, CA 92615) 

THE B-MOVffi RATS - "Invisible 
Man/Your Fat Friend" 

They operate on the 
SUPERSUCKERS principle, dipping 
fastish, drawling punk in country spazz- 
rock. Apolitical Americana is the name 
of the game, and they're good at it. 
Fuzzed-out too, man. "Your fat friend", 
though? Come on, now. Like the Top 40 
kids say, that shit's so tired. (AC) 
(Shrunken Head, PO Box 264, Newport 
Beach, CA 92662) 


Irwjsi&k Mao 

THE BAR FEEDERS - "Injun Ron" 

The BAR FEEDERS are local 
boys who have been around forever. 
They must be keeping it on the down- 
low, though, cuz I've never seen them. 
Fastand energetic, L.A.-in-the-late-'80s 
punk rock. These songs have some weird 
breaks and complicated parts that would 
be annoying if taken a step further, but 
instead it's what sets this band apart and 
makes them interesting. Good stuff, but 
it won't have you dropping out of school 
or ripping your clothes off or anything. (JN) 
(Fast Music, 368 Broadway #511, New York, NY 10013) 


I've noticed that a few European bands have decided to play this 
unique brand of music. Take OXYMORON, an occasional ska break- 
down, stadium choruses, an oi! oi! here and there, and a bizarre Fat 
Wreck Chords quaUty and what do you have? Beats me... Neither of 
these bands did a thing for me. (NF) 
(Knockout, Postfach 100716, 46527 Dinslaken, GERMANY) 

BRASSTACKS - "Just The Facts" CD 

At times, these guys spit out some good AC/DC type rock V roll 
with a punk edge, other times they have an aggressive Vulture Rock type 
oi thing goin on. Lyrically speaking, there's nothing out of the norm for 
this genre. Fighting, drinking, pride, working, being a skinhead, etc... 
But, overall it's better than most. (NF) 
(Beer City, PO Box 26035, Milwaukee WI 53226-0035) 


G u s y 

BELL - "A New Kind Of Rome" CD 

Rock and roll from Seattle with girls on vocals who sound a little 
like Kat Bjelland. Hell yeah. It sounds like a more rock, less metal 
BABES IN TOYLAND, but a little bit on the slow side. The lyrics are 
funny, but not mind-blowing, and the guitarist and bass player play off 
each other well, both vocally and instrumentally. It's good shit, but I 
don't know if I'd seek it out. (BC) 
(Yeah It's Rock / PO Box 85775 / Seattle, WA 98145) 

SI HE!' 


Yeah! Both bands break it down with some fast straight edge, 
youth crew inspired hardcore, and they complement each other well. 
I found BLOODP ACT's musical and vocal styles to be a little harsher 
than VARSITY, though the vocal style of VARSITY'S singer remind- 
ed me of Civ from GORILLA BISCUITS. Both of these bands are rad 
and deserve your support. So check this record out! (RC) 
(+/-, PO Box 7096, Ann Arbor, MI 48107) 

BITCHY - "Black Socks And Happiness" CD 

Cool cover art by Derek Hess. BITCHY is hardcore meets good 
old fashioned rock 'n' roll, and the result for me was aZEKE flashback, 
which ain't so bad. This record looses its intensity at times, but overall 
it's enjoyable. (TV) 
(Thick, 409 N Wolcott, Chicago, IL 60622) 

"Bloodstreet Boys/It's Too Late" 

is that old band from the 

early '80s???? ....DC or something 

like that????? they look plenty 

old on the back, so maybe it is 

them great name but the 

music is pretty ho-hum I played 

this a few times but I still can't de- 
scribe it 'cause it's so run-of-the- 
mill DOLLS covers are cool again, 

along with STOOGES, MC5 and 

RUNAWAYS just ask JEFF DAHL.... (SW) 

(007, 534 East 14th St. #15 New York, NY 10009) 

THE BLAST- "Barking Blast/Now 
& Here" EP 

Oh yes! You lucky street- 
punks ! The BLAST have come all the 
way from Nara, Japan to drop the 
motherfuckin' punk bombs on your 
unsuspecting ears! This 45 rocks! 
"Barking Blasts" rips like a mother- 
fucker right from the starting line — 
this is punk that makes you stand up 
and take notice! Fast guitars and top 
shelf vocals push this over the top! 
Turn this single over and "Now & 
Here" gives you an excellent Al Barr/Ken Casey lesson in street punk 
from all over the world! This is REALLY good! (BR) 
(Shot & Shout, 21-1A-202 Yamazaki, Dcoma, Nara, JAPAN) 

BLOODCLOTS - "Clot You To Rot" LP 

Up-the-fucking-punx! rock from Seattle. The BLOODCLOTS' 
nasty second wave English punk sound suits the spikes and studs of the 
LP group photo. The scratchy bellowing from the singer coupled with 
the guitar's hooks puts this in nearly the same league as this month's 
DEFIANCE reissue. (TH) 

(Helen Of Oi!, 35 Becton Lane, Barton On Sea, New Milton, Hamp- 
shire, BH25 7AB, UK) 

BOILING MAN - "Roadkill Mu- 
seum" EP 

Here's the new 7" from Six 
Weeks Records. Hailing from Con- 
necticut, these guys deliver seven 
great angry grinding hardcore hits 
with intense raging vocals. Song top- 
ics include criticisms of the punk 
rock community and violence agi- 
anst women. Nice. Very nice. (SR) 
(Six Weeks, 225 Lincoln Ave., Co- 
tati,CA 94931) 

Will, The Message" EP 

This comparison took some 
coming up with, but I'm sticking with 
it. Imagine a '50s Rock n Roll ballad 
anthem. These Swedes don' t meet the 
full potential of the comparison, but 
who could? (TH) 

(Knockout, Postfach 100716, 46527 
Dinslaken, GERMANY) 

BUG CENTRAL - "The Meek Will Inherit Nothing" LP 

English punk fucking rock. Great lyrics with sing-along chorus- 
es. Most of the songs are about conformity and alienation. Fast guitars 
and hard drumming back up great snotty vocals. Note: it doesn't sound 
stupid when English singers sing with English accents, but it does 
when American singers do. This is the band the SEX PISTOLS should 
have been. (BC) 

(Helen of Oi !, 6 Nothcote, Docking, Kings Lynn, Norfolk, PE3 1 8ND, 

THE BULLYS - "Tonight We Fight Again" CD 

I don't know, this ain't too good. It's stupid, and I ain't sorry. 
There's no dominant musical angle, it all seems to be written around 
the really shitty lyrics. Real middle of the road mid-tempo sound, 
copping all kinds of tude. Laughable, like John Cryer and Flea in the 
movie "Dudes", these are those kind of punks. Crap. The kind of shit 
your suburban aunt thinks of when she thinks of punk rock. Weak 
weenie. (RY) 
(Headlock, PO Box 580 Midtown Sta, New York, NY 10018) 

£ 2 H 

CHAOS U.K. - "Total Chaos" LP 

This is the first two EPs and album on an easy-to-find LP. If you 
don't know who this seminal hardcore/crust band is, you should 
probably get this LP if you plan to stay a punk. You' ve seen the patches, 
now own the records. Too much metal, grind, and noise for my taste, 
but still an important release. (BC) 
Abraxas Sri / Piazza Maltoni 1 6 / 50065 Pontassieve (Firenze) ITALY 

CHARGE 69 - "Religion Sacrifice" EP 

Like most of this bands other releases, they play upbeat street 
punk with all the elements, shouted group choruses and the like, on the 
four songs here. This release is weird however, in that they sound 
almost note for note like OXYMORON, with the only distinguishing 
factor being that the vocals are done in French. (RM) 
(Knockout, Postfach 10 07 16, 42-6527, Dinslaken, GERMANY) 

ERFUCKERS - 'Tour Hundred 
Fascists" EP 

What the hell is the world com- 
ing to? For some reason, people are 
bootlegging CCM records now. Is 
there really a market for (relatively) 
obscure Italian hardcore from the 
dawn of time? Sticking to aesthetics, 
this is classic old school hardcore... 
Ugly music sticking its ugly face in 
the mugs of all the pretty boy punks. 

J. MaScis once said that he loved the first DISCHARGE because it 

upset all the old fart '77 punks. This record is the same for me. Aclassic 

that helped define all European hardcore. (LH) 

(no address) 

CLOCKED IN - "Standing" CD 

Started reasonable enough — punchy hardcore, tinge of emo, but 
nothing that would drive me crazy. Couple of songs later, and all I can 
think of was 24-7 SPYZ. Has that "clean" guitar sound that over- 
whelms every thing else. Vocals are upfront, which I like, but the whole 
thing is produced in a manner that kills it — it's just too polished to be 
very engaging. (TM) 
($9 ppd: Clocked In, 485 Oakdale Dr Apt C-38, Atlanta GA 30307) 

The Dirty Little Weapons" EP 

Awesome Scandinavian style 
crust-thrash. These guys have been 
going at it for awhile so it's obvious 
that they have mastered the art of mak- 
ing distortion-laden crustcore. As good 
as any of their other releases (but the 
extra guitar solos add that extra touch), 
and to boot it's brought to you by 
captain crust himself! (MW) 
(Havoc, Po Box 8585, Minneapolis, 
MN 55408) 



gotta like a 45 rpm LP, that has about that many songs. I enjoy that I 
don' t have the slightest idea what they ' re say ing. I enjoy that it' s a wall 
of noise. I enjoy that every song sounds like a couple of chainsaws and 
a log splitter. I enjoy that they've employed the guru of production, 
Steve Heritage. I enjoy that there's a lyric booklet to read, and yet not 
understand. And no, I don't care whether or not you think this is 
"music". (TM) 
(No Idea, PO Box 14636, Gainesville, FL 32604) 


This release is nicely packaged, and even without a much- 
needed lyric sheet, it has the feel and look of something special. 
CONTRA is hardcore that could have come out of Olympia in the 
eighties, or at times the East Bay in the nineties. SPLURGE is a bit 
more on the melodic side, alas that Fat Wreck sty ley . Kind of a let down 
after the CONTRA side. (JV) 
(Traffic Violation, BOX 772, East Setauket, NY 1 1733) 

COOTER "Looking Up" CD 

These guys sound like MXPX, although I've never been into 
MXPX. But if MXPX finally put out a great record, it would sound like 
this. This is a catchy fast record with strong pop punk tunes and good 
powerful vocals. A damn near great full length. (RL) 
(Fast Music, 368 Broadway #511, New York, NY 10013) 


The sound quality on the NO SIDE side of this disc is baaaaad. 
Not bad like how Iceberg Slim is bad, but bad like it sucks. Makes me 
think of that episode of "What's Happening" where Re-Run sneaks a 
tape recorder into the Doobie Brothers concert. It's too bad, too, cuz 
what I can hear sounds tough as hell. Fast & crazy, sometimes 
sounding Oi, but with really bitchin' BLACK FLAGy guitar parts. 
The CRIKEY CREW side has way better sound quality. Their song 
has some cool chuggin' guitar parts too, but it drags on for a million- 
and-a-half years and the vocals are flat and gruff and boring. If I were 
you, I'd forget about this record and just go see NO SIDE live, or wait 
until they can afford a decent 4-track. (JN) 
(no address) 


Hmmm, more English pop punk. Usually I can tolerate this stuff 
more than its American counterparts. This release is all right. Not 
great, not deadly. The songs are decent, fast, tuneful affairs. The 
production is a little thin, but works. I like that they even put their chord 
changes on the lyric sheet. Nice touch. (BG) 
(Crackle, PO Box 7, Otley LS21 1 YB, ENGLAND) 


Punks from Austin, TX. Serious punk with clever and intelligent 
lyrics — no wonder I can't get into it. Talented and unlike everything 
else — no wonderl'malittlebored. It sort of reminds meofNOMEAN- 
SNO, and it makes me uncomfortable. (RY) 
(Mortville, PO Box 4263 Austin, TX 78765) 


DAILY TERROR - "Andre Zeiten" 10" 

Pretty great release by this long gone German outfit. This band 
saw its heyday back in '78- '82 and this compiles their entire vinyl 
output. Killer, snotty, sometimes mid tempo, sometimes more pogo-y 
punk that kicks much ass. (RM) 
(Dirty Faces, Universitatsstr 16-44789 Bochum, GERMANY) 


this record started out okay but got pretty pussy by side two 

mild pro- sounding "sixties in the eighties" kick-back music very 

kick-back stoner some slide guitar lazy voice loud 

deep snare it's okay, it just goes on too long I could see this lot 

openingupfortheLONG RYDERSandtheTEN FOOT FACES back 

in '84 do you know whatl mean, you poser-ass motherfucking shit 

fer brain readers?????! ! ! (SW) 

(Get Hip, PO Box 666, Cannonsburg, PA 153 17) 

DEFIANCE - "No Future No Hope" LP 

Here's the reissue of this straight-up punk rock album including 
a cover of ANGELIC UPSTARTS' "Police Oppression." Of course 
the inside cover includes a portrait of the band. How many studs can 
you count? I lost track. "I hate everything I fucking hate it all." "Fuck 
them all they ain't worth ashit." "Fuck this city fuck this city up." With 
coruses like these, you gotta love these guys. Come on... (SR) 
(Skuld, Malmsheimstr. 14, 71272 Renningen, GERMANY) 

DEMONS - "...Come Bursting Out" 10" 

These four Swedes are kicking the ass of some tremendously 
thick rock and roll. Impressive tempo, made the more so when one 
considers the sea some of the other Swedes have recently set sail on 
(Steer, Torbjornklockares gata 5-9 a, 1 13 30 Stockholm, SWEDEN) 

THE DENTS - "The End Of All 
Civilization" EP 

This is a good punk record 
with political lyrics at times, and just 
a general pissed-off-at-the-system 
attitude. A little like the ANTISEEN, 
and worth keeping an eye out for. 

(So Fuckin' What, 253 Alexander St, 
#322, Rochester, NY 14607) 

DIMESTORE HALOES - "Revolution Into Style" CD 

Spiked hair has made a surprising comeback, at least among 
upper management in the office I work at. It never went away for 
dedicated men like the DIMESTORE HALOES, who have the Rikk 
Agnew meets punk-version Mike Ness look down like it was yester- 
day's news. I like 'em okay, they're to the point with their English- 
style sing-along punk rock-and-sock. A little RANCID here, a little 
Johnny Thunders there. Give 'em your milk money. (JH) 
(Pelado, 521 W. Wilson #C103, Costa Mesa, CA 92627) 

DISGUSTING LIES - "Pewnegodnia" LP 

Hailing from Poland, DISGUSTING LIES kicks out 20 songs 
of fierce, dual male/female vocal, Scandinavian crustcore. This style 
has been played a million times before, but what the hell hasn't. If you 
dig your crustcore faster and tighter than your average run-of-the-mill 
NAUSEA wanna-be band, check DISGUSTING LEES out. (MW) 
(Malarie, Po Box 10, 60-170 Poznan 27, POLAND) 

DISRUPT - "Rid The Cancer" EP 

I want to put the warning call 
out there, this is a bootleg of previous- 
ly released songs! The A side is from 
their split 7" with DESTROY and the 
B side is from their split 7" with 
RESIST. As far as DISRUPT tracks 
go, these are decent, but not my favor- 
ite. You could basically track down 
their "Unrest" LP and their LP of their 
split 7"s, both of whom were on Re- 
lapse and have a comprehensive 
DISRUPT discography. This EP, however, is a re-release of two 
already borderline unimpressive DISRUPT 7"s. Why not have just 
bootlegged one of those LPs that are so hard to find nowadays? (PB) 
(no address) 

DISTRICT - "My Dad's A Punk" CD 

Kind of a surprise here. Judging by the cover along with the fact 
that r ve never heard of em, it made me think that this would be in the 
used bin ASAP. But this ain't bad at all. A few tracks are heavy heavy 
COCK SPARRER-influenced and the rest are really reminiscent of 
the BLITZ (when they were good). My main gripe is that it's way too 
produced. Also, there's no originality, but who is original these days? 
Not bad at all. (NF) 
(Dirty Faces, Universitastr. 16-44789 Bochum, GERMANY) 

DIE KASSIERER - "Jetzt Und In Zukunft Often.." 12" 

A live recording of a group that sounds quite similar to another 
band that I reviewed in this same issue called PUNKOEBER. I didn't 
really care for that band and the same goes for this. Pretty-run-of-the- 
mill stuff. Urn, cool picture disc though. (NF) 
(Dirty Faces, Universitatsstr 16, 44789 Bochum, GERMANY) 

DIVIT - "Low Speed Chase" CD 

Jesus, how much money did they spend recording this? Huge, 
in-your-face production propels this Epitaph-style band along. Sorta 
reminds me of PULLEY or sometimes STRUNG OUT at the wrong 
speed. Fast and tight as fuck. And look at that gear! Does somebody 
in the band work at Univibe? (LH) 
(Coldfront, PO Box 8345, Berkeley, CA 94707) 

THE DOUBLE NOTHINS - "Got Into A Fight.JSo Glad" 

I guess the guy who does what is arguably one of the best punk 
mail orders in the world, Underground Medicine, needed even more to 
do with his time so he started this record label. So far, so good. Like the 
other releases I've heard put out under the Rapid Pulse banner this is 
catchy, snotty punk that sounds a bit like some thing you would expect 
to hear on Rip Off Records, but with better production. I like it. (RM) 
(Rapid Pulse, PO Box 5075, Milford, CT 06460) 

DOCTOR EXPLOSION - "Viviendo Del Cuento" LP 

Wherein the foremost exponents of Spanish beat smooth out 
some of their rough edges. Often an ill-advised move for rock and roll 
bands, it actually works out well here. In addition to a good bunch of 
slickly-produced rockers (including the great flamencoish "My Fe- 
male Side"), there are a handful of very poppy (but good) numbers. 
"Surfin' Turd" is a song that the QUEERS might well wish they ' d have 
written. Mucho gusto! (DD) 
(Subterfuge, PO Box 46055, 28080 Madrid, SPAIN) 

THE DRAGS - "45x3" LP 

Like some phantom AM radio broadcast (both in spirit and 
sound quality) this seeps broken treble knob garage rock into the ether. 
Take equal doses of garage, surf, and early punk and you'll get a rough 
approximation. It's like all the sweat and reverb from these songs 
bleached out all the bass frequencies, leaving only exposed raw nerves 
and libido. A cool (if occasionally uneven) collection of over 20 EP and 
comp tracks. (BG) 
(Empty, PO Box 12034, Seattle. WA 98102) 

DRUG CZARS - "On Venus" EP 


MISSION OF BURMA guitar work- 
outs with that X-type double vocal 
thing, but with two guys instead of a 
guy and a gal. Supposedly, this has 
ex-members of the EAT, 
etc. Four decent tunes, fairly high on 
the "rock" quotient and deserving of 
your patronage and attention, or at 
least mine. Good shit. (JY) 
(Fruit Bat, PO Box 772412, Carol Springs, FL 33077) 


I'm down for the rock, but ELECTRIC FRANKENSTEIN 
have nevertickled my taste buds. But enough people love 'em that they 
hardly need any words of praise from me. These are all from the Rik 
L. Rik vocal era and include the NEGATIVE TREND and F-WORD 
covers that appeared on 7" (exactly how many of the other eight tracks 
have been on one 7" or another is too time-consuming a task for me to 
pursue; Christ in achicken basket, there's about fifty of 'em), and I've 
got to admit that Rik's voice has improved (his use of it, at least) over 
the years. A decent job is done on the MISFITS' "Queen Wasp," but 
"Savage" doesn't swing like the FUN THINGS. But, as I said... (DD) 
(Au-go-go, GPO Box 542d, Melbourne, Vic, 3001, AUSTRALIA) 

ENVY - "Angers Curse Whispered In The Edge of Despair" CD 

Hardcore that is a little confusing to me. At times the vocals 
make it sound like grindcore, but on the whole it feels like emo 
hardcore along the lines of HEROIN or even URANUS. Some of the 
guitar tends to move in the pop direction at times, giving it a catchy 
edge. Fives songs with vocals in Japanese (I think?) but the insert has 
the lyrics in English as well. (PA) 

(HG Fact, 401 Hongo-M, 2-36-2 Yayoi-Cho, Nakano-Ku, Tokyo, 
164-0013, JAPAN) 

EYELID - "Conflict's Invitation" CD 

Four songs of metal influenced straightedge in the vein of 
EARTH CRISIS or STRIFE. Driving beats that go into those chugga- 
chugga breakdowns — with an occasional quiet emo breakdown, 
along with screaming vocals. Compared to so many of these types of 
bands, they seem to do it quite well. (PA) 
(Indecision, PO Box 5781, Huntington Beach, CA 92615) 

FALL SILENT - "Superstructure" LP 

Metal influence like a motherfucker, but this record is still high 
hittingon the punk meter. And not because of the boring "they're doing 
something different and that' s what punk is about" vie w. FALL SILENT 
doesn't get swamped in crunch or lost in guitar noodle. There is the 
backbone of rock 'n 'roll movement that even the most spastic of 
hardcore bands don't forget. The liner notes claim that 
FALL SILENT has spent several years getting this LP ready and the 
lyrical and musical craft benefited from every minute without becom- 
ing navel gazing. (TH) 
(702, PO Box 294, Reno, NV 89504) 

DUMMY - "Dank" CD 

Heavy power trio stuff here. Lots of ROLLINS BAND influence 
shows through, but also some of the harder Chicago math rock. Pretty 
muscular stuff. All three are good musicians, and the production 
sounds good — only problem is that some songs sound more inspired 
than others. Also, some of the vocals start to sound very similar. Still, 
it's worth looking into. (BG) 
(no address) 

EARTHMOVER - "Death Carved In Every Word" CD 

In the pit with bands like ALL OUT WAR and TURMOIL, this 
band can hold theirground. Kickbox to circle pit, this fucking goes off! 
(+/-, PO Box 7096, Ann Arbor. MI 48107) 

FEARLESS/L.O.V.E. - split EP 

FEARLESS' pop-punk got my 
toe tapping with "Find Yourself and 
kept me hooked with the harder 
"Speed". Unfortunately, they broke 
up. L.O.V.E. (LAND OF VALU- 
ABLE EARTH) is still together, and 
are a much more powerful girl band. 
They're looking for US distro/tour- 
ing, and I hope they get it, because 
they are a fucking good all-girl hard- 
core band. The track "Nothing" is flat 
out punk rock, while "Real Mind" is a hardcore anthem. I wish there 
was more, because both these bands are really great. (BC) 
(Tae Nishigaki, 4-1-1-1017 Nishimakino. Hirakatacity, Osaka 573- 
1148, JAPAN) 

W &); JI h 

FLATLENERS - "The Chaos Youth" EP 

This fucking record rocks your world, punk rocker! We start off 
with "Fight for Yourself which has a tough-as-nails TUNNEL RATS 
sound about it. The FLATLINERS rumble through two more rowdy 
bus of Texas style punk rock on side one. This raw- as- shit punk- rock 
record has great gruff singing with inspired electric guitar snarl Side 
two gets underway with the smash-it- up hard-ass song "Livin' Like 
A Rat' . Great! "Not one of Them" is a fine punk anthem with traded- 
off vocals and harmonies. A VERY good record! Get it now " (BR) 
(A.D.D., 270 Central St., Hingham, Mass. 02043) 


I'm actually eating granola while listening to this which is 
probably grounds for execution. (I didn't buy it or anything I just 
found in the house, I swear.) A crew of happy, spiky Belgian punks 
play basic older-style street punk, recalling more of 999 and ONE 
WAY SYSTEM than the newer, tighter stuff. That's better in my 
book...clean street sounds are sort of an oxymoron (pun, er, intended'') 
anyway. FUNERAL DRESS' (gruff) male and BOH's (shrill) female 
vocalist both rock the anthems. (AC) 
(Knock Out, Postfach 100716, 46527 Dinslaken, GERMANY) 





Lo-fi hardcore with good mel- 
odies and teen angst lyrics. Pretty good 
but nothing too exciting. (HM) 
(12MFA, POBox 310, Cherry Val- 
ley, fL 61016) 


VZAL RHOMB - "We're Goin' 
lit Tonight" EP 

The title track is a poppy little 
number that gets me thinking to my- 
self: "Self, these guys aren't so bad for 
a Skate/Fat band". Then they force me 
to take back aforementioned compli- 
ment when they start in with that lame- 
ass bass solo. The other two tunes are 
pretty shitty as well. This is what would 
J happen if MxPx and BLINK were to 
ever hang out at a skate park. I hope 
you guys skin your knees for wasting my time. (BM) 
(Fat, PO Box 193690, San Francisco, CA 941 19-3690) 

* I 

Death" EP 

Quite a follow-up to the stink- 
erthey put out on Clean Plate last year. 
A mix up of AMEBIX and ANTI- 
SECT dirges with bursts of 
SEPTIC DEATH fighting through. 
Lyrical and stylistic bleakness abound, 
a trademark of Tennessee hardcore 

(Partners In Crime, PO Box 820043 
Memphis, TN 38182) 

F.U.2 - "The First Album By... " LP 

"What a bunch of fuckin' freaks", as my grandmother 
woulda put it. We'll never know the true story behind F U 2 but they 
were definitely English, certainly ugly (picture the cranked-out biker 
miming the dart toss at the county fair and multiply him by five) and 
the acronym they employed as a name stood for "fuck you too " Nice 
boys. Some thoughtful bootlegger has seen fit to reissue' their 1977 
debut LP so we can enjoy anti-classics like 'Tax Exile" "Manic 
Depression", "Sniffin' Glue" and "Mean Evil Child" anew Develop- 
mental ly-disabled punk rock played by bearded headbangers, kinda 
stupid, kinda funny, kinda slow. The English CHILD MOLESTERS 
I only made it through the first side, but don't let that dissuade you (JH) 
(no address) 

FUZZTONES - "One Girl Man" EP 

Tn ._"" Jn th ^. late ' 80s jt w »s very "uncool" to like the FUZZ- 

luINb ^ polished '60s sound I think everybody thought they 

were a bunch of posers.... either that or they were jealous of 'em I 
didn't care one way or another....but the MUMMIES came along and 
changed everything it was "cool" to like "lo-fi" and '60s slul and 

S^Tnvmc K CaUght ^° " ' StiU think i( ' s " unc ° o1 " t0 ^e the 

FUZZTONES, but you II have to admit, there's at least ten thousand 

bands out there that look and sound like them so I guess people were 

just jealous (SW) F H 

(Sun Dazed, PO Box 85, Coxsackie, NY 1205 1 ) 

Split EP 

Thi s is more of a slower, poppy 
GAIN. I can dig their groove, but I 
prefer them fast and furious. 
CRUSH STORY sound even more 
pop and mid tempo. Decent pop 
(702, PO Box 204, Reno, NV 89504) 



GOJIRA - "The Don't Fear The 
Cookie Monster" EP 

Primitive and crude fastcore 
that is on the border of grindcore. The 
opening sample is fucking awesome, 
as with some of the other stuff in 
between songs. Although sloppy at 
times, this is a good first effort. If you 
need a comparable, let's say that fans 
dig this. (MW) 

(Soapdodger, 634 Millwood Rd, Tor- 
onto, Ont., M4S 1K8, CANADA) 

GOLDEN STARLET - "Token Gadgy" LP 

Ah, the classic SLAMPT sound if there ever was one (if there 
ever is one?). This collection puts together both of their classic singles 
and their demo tape. Imagine SHOP ASSIST ANTS-sty le tribal drum- 
ming pushing along crazed female vocals and wall of noise punk guitar. 
Sorta like a more extreme HUGGY BEAR, with very clever (often 
ironic, never self-aware or at least never admitting it) lyrics. I had the 
good fortune of seeing them live when they played with J CHURCH 
years ago. Nothing is lost in the studio. Now rocking out as the 
(Paroxysm, PO Box 58133, Washington DC 20037) 

GROVER - "The Dooks'll Work It Out! EP 

One of the latest Crackle releases, this has a more raw and loose 
feel compared to SKIMMER and CHOPPER. Still a strong release, 
though, in fact this almost has an East Bay circa 1990 feel. (RL) 
(Crackle!, PO Box 7, Otley, LS21 1 YB, UK) 

GUNSPIKING - "Strike, Light, Burn" EP 

Why, it' s the distinct female vocals and attention to time changes 
of FALSE SACRAMENT with a strong political hardcore twist. If the 
screamo of FRAIL was distorted enough for you, but too hectic, friend, 
this EP is for you. (TH) 
($3: 27 Welsford St, #2, Pittsburgh, PA 15213) 

GUY SMILEY - "Alkaline" CD 

Nowhere on this CD does it say where this band is from, but my 
guess is Canada. They are hardcore rock in the GOOD RIDDANCE 
and BRAND NEW UNIT sorta way, but the CD kinda reminds me a 
lot of a better produced "Ourselves"-era 7 SECONDS. The songs are 
structured well, executed with good musicianship and the recording 
sounds terrific. Accessible and catchy. (PB) 
(Devil Doll, PO Box 30727, Long Beach, CA 90853) 


HELL WORMS - "Glamorous Drug Problem" EP 

Already this is my favorite of the month and I haven't even 
listened to it yet. It's packaging like this that keeps me loyal to vinyl. 
A one-piece foldingjacket with slot in tab closure, red and yellow clear 
vinyl, all covered in Greg Higgins artwork. This is the second(I think) 
release from these former members of VICTIMS FAMILY and they 
just get better. It was recorded and mixed in five hours and it sounds 
better than what a buncha wankers would take weeks to do. How punk 
rock is that? (DP) 
(Very Small, PO Box 12839, Gainesville, FL 32604) 

HERS NEVER EXISTED - "A Static State Of Developmental 
Disability" LP 

I never know quite how to describe this kind of music. Eclectic 
arrangements with no-wave undercurrents and occasional open struc- 
tures that build tension with varying degrees of success. A weird emo 
edge for such a punky band, almost reminding me of the VSS at times. 
Mix that contemporary West Coast style with doses of PRAG VEC or 
really early PERE UBU, and you sorta get the idea. Good vocals also 
really help define the band. (LH) 
(El Sabado, 1442 A Walnut St PMB 407, Berkeley, CA 94709) 

Blown it Again" EP 

Former members of rockin' 
emo bands such as ORDINATION 
ting the emphasis on rock. The Aside 
is a loud up-tempo rock song, and 
though they take a little distortion off 
of the guitar, you can hear a little of 
their roots showing through. The 
B side sounds at times like the 
CLASH, with some organ thrown in. 
Confusing at first, pleasurable in the end. (PA) 
(Modern Radio, PO Box 8886, Minneapolis, MN 55048) 

HOLLY TREE - "Running Out Of Sense" CD 

Wow! HOLLY TREE has that RANCID thing down. Those 
bass lines, the vocals and unintentionally dumb lyrics. A must have for 
RANCID complete-ists. (HM) 

(Silly Sally, Rua Augusta 2190, Suite 222, Sao Paulo, SP,Cep01412- 
000 BRAZIL) 



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GUYANA PUNCH LESE - "Maximum Smashism" LP 

Woah! This hits like a kick to the guts! Total fucking hardcore, 
from ihe spiraling scratches of the wall of guitars to the machine gun 
attack of the drums. The key to it all is the new philosophy of 
Smashism... the willingness to tear it all down and start from scratch. 
Y2K= Y 1 . Yep, this band has a punk rock pedigree, but who cares about 
that? As far as the listener is concerned, this is their first band. Hell, 
maybe this is THE first band. Comes with disassembly instructions. 
(Prank!, PO Box 410892, San Francisco, CA, 94141-0892) 

HOG - "Mascara" EP 

HOG play some brutal Mexican grindcore. The recording is 
really heavy, the lyrics discuss contemporary political and social 
issues, etc. Kind of like a more primitive DESPISE YOU. (MW) 
(HOG, San Borja 633-403, Col. Del Valle, CP. 03100, MEXICO 

S 2 fil 

HYMANS - "A Hyman World" CD 

When this Swedish band came through my bin like five years 
ago, they received a typical merciless bashing, but that was when 
everyone was doing that copy-the-RAMONES shit, and they seemed 
to disappear anyway. Some things you shred in a review and then soon 
forget, I never forgot the HYMANS. First of all, for their ridiculous and 
horrible name, then for the most unabashed, talentless, thieving schtick 
F ve ever seen or heard — really, the worst. Some of those bands I really 
dug, like HEAD and the RICHIES, and yes early QUEERS, but this is 
acomplete copycat wasteoftimechordforchord.DammitJust be gone 
already, you suck!!! (RY) 

(Vamp, 92 Kenilworth Ave. S. Hamilton, Ontario, CANADA L8K 


Around And Around" 

Gets the prize for most minimal/mysterious package this month: 
plain xeroxed sleeve, next to no information except for the songs titles 
and an off-white photo of three guys with instruments. Music within 
consists of two somewhat disembodied, deconstructed 
CHUCK BERRY songs. Plodding, noisy, and noise-drenched amid a 
slow druggy beat. BLUES EXPLOSION on a mixture of time- 
slowing pharmaceuticals. (JY) 
(Ball, PO Box 152, Gardner, MI 04345) 

THE JEWWS - "Heartbreaker" 10" 

The title track is one of the catchiest songs I have heard in a long 
time. One play, and I am singing it all day. Fantastic. All the songs are 
great. Garage rock with very cool vocals. Attitude galore. I like it. (CK) 
(Remedial, PO Box 66403, Houston, TX 77266) 

JET BOYS - "Jumpin' Jet Flash" CD 

How don't you love a Japanese band singing "Kick Ass USA?". 
Awwww! If you didn't know, these kids rock... a lot! They don't 
exacdy pick up where TEENGENERATE left off, but you wouldn't 
want them to. The girl drummer and vocalist, Skinny Minnie, has 
severe JOAN JETT-itis, and could sing more, for my taste. They give 
you many little songs. They don't ever let up — it's on adrenalin 
overdrive throughout. All three members trade off lead vocals, which 
keeps it amusing. There are so many borrowed song titles — "Stupid 
Jerk", "High Time", "Destroyer", "I Wanna Live" — I thought it was a 
covers record, but the only real cover is "I Wanna Fuck Myself. 
Embrace the JET BOYS. (RY) 
(ZK, 3-3-2- IF, Shibuya, Shibuyaku, Tokyo, JAPAN) 

JOCKS - "Martha Must Die" CD 

Ok, the name says it all. Simple, repetitive, mindnumbing music 
to play at frat parties. (DP) 
(New Disorder, 445 14th St., San Francisco, CA 94103) 

MOUSTACHES - "Strychnine/ 

Two covers, recorded so poor- 
ly that you can barely make out the 
songs. In fact, "Complication" has 
barely any resemblance to the origi- 
nal. It' s muddled, distorted, and lack- 
ing listenability. (CK) 
(Ball, PO Box 152, Gardner, MI 


ible Damage" EP 

Great stuff recorded a bit ago 
(1997) from this substantial Europe- 
an hardcore band. Huge poster sleeve 
with lyrics and so forth, and a smaller 
booklet with lyric explanations. The 
music is fast, charismatic and pierc- 
ing — there's an urgency that few 
bands employ as well. Tellmethere's 

(Nabate, BP 92, 4000 Liege 1 , BEL- 

Strychnine b/w 

* Complication 

JUD JUD - "No Tolerance For In- 
struments" EP 

Back for a second round of 
their warped version of straight edge 
hardcore. Two guys doing modem 
straight edge style hardcore a cappel- 
la style. Hence the name of their band 
is JUD JUD. While I think this is 
brilliant, especially with the rip off of 
BOLD's "Speak Out" album cover, 
how necessary are two EPs are of this 
senseless mindfuck? Nevertheless this 

is definitely worth checking out for some solid gut-busting laughs if 

you have never heard them before. No lyric sheet like the last EP. Now 

that was funny! (RC) 

(Schematics, no address) 

K.F.P. - "Dead End Road" EP 

Sloppy pop punk in the later 
QUEERS vein. A bit too sloppy for 
my tastes in this way over-killed genre. 
(205 1 6 Hwy 53, Gulfport, MS 39503) 



KIDS LIKE US - "Truth Alone 
Triumphs" EP 

KIDS LIKE US play straight- 
ahead melodic youth crew style hard- 
core a la VISION/DAG NASTY or 
JUSTICE LEAGUE. Lyrically, this 
EP deals with such topics as intoler- 
ance, staying positive, and question- 
Hll I m S l ^ e tn ' n S s vou do. In addition, 
I^^JjgjS Em I | there is a summary of what each song 

is about in the liner notes. I do find it 
sort of odd that 

KIDS LIKE US condemn those who preach intolerance in the name of 
religion, but still thank both the Oslo and Brooklyn Krishna Temple. 
Still, besides that, this is another excellent release from... (JF) 
(Commitment, Klein Muiden 38, 1393 RL Nigtevecht, HOLLAND) 


It almost pains me to listen to 
this EP. I missed KUNG FU RICK at 
Gilman Street, and was barraged with 
stories about how fucking great the 
were live. Anyway, this is some full 
speed ahead hardcore. Dark, heavy 
and pissed... it crushes. 
BAD ACJJD TPJP break out with six 
tracksof blazing fastthrashcore. Sim- 
ple and stripped down, just how I like 
it. I would like to see these guys do a full length LP with like 30-40 
songs on it. Now that would be rad. (RC) 
(Josh Lyons, 49 Wilcox Street, Rochester, NY 14607) 


"Wreck" is a little bit LA X in 
feel, as singer Ayn examines the de- 
stroyed contents of a room in her 
multi-pitched full rock voice. All three 
songs are up-tempo and fast, relying 
much more on basic rock energy than 
pop hooks or gimmicks. I have a 
feeling that a full-length could bring 
out moments of brilliance that aren't 
quite realized here, but this is a pow- 
erful, fun listen on its own. (AC) 
(Firmament, PO Box 420484, San Francisco, CA 94142) 

KLASSE KRIMINALE - "I Ragazzi Son Innocenti" LP 

You skins and punks must be living right! Knock Out Records 
from Dinslaken, Germany has just released a great new LP by the 
famous anti-racist Italian skinhead band KLASSE KRIMINALE! This 
fucker has great music, great lyrics and continues the legacy of 
KLASSE KRIMINALE as one of the foremost standard bearers forthis 
brand of oi! Most of the songs are up-tempo with an occasional slower 
melodic bit. Some of the lyrics in "This is Italy" are : 'Taxes to live/ 
Corrupt parties, social climbers, mass media are boss./Rich and poor 
people don't exist anymore/ Without a class we're even poorer." 
Superb politics. Fine songwriting. Get this record !(BR) 
(Knockout, Postlach, 10.17.16 46527 Dinslaken, GERMANY) 

LAWRENCE ARMS - "A Guided Tour of Chicago" CD 

Driving pop punk, heavily influenced by early JAWBREAK- 
ER, especially in the vocals. Unlike many others, they have a couple 
of things going for them: catchy song writing, songs that aren't too 
long (the correct length for music of the sort) and decent vocals. More 
of the second vocalist and more songs like "The Northside..." and "18 
Inches", please. If you're a sucker for shit like JON COUGAR 
you may be into this. (PA) 
(Asian Man) 

Half Step Flat" EP 

Good down home country 
thrash makes this my favorite record 
this month! This' 11 satisfy any 
hungry for new tunes. (HM) 
($3 ppd: Ain't That A Rat's Ass, PO 
Box 25453, Seattle, WA 98125) 


More melodic punk, with a heavy rock influence and emphasis 
on melody. It's pretty solid, and has great production. The only 
problem is that it might be a little too slick. Not bad, overall. Definitely 
the spawn of bands like DAG NASTY and DOWN BY LAW. Mid 
paced and pretty rocking. (BG) 
(Fearless, 13772 Golden west St 545, Westminster, CA 92683) 

KOAN - "The Imagery Is Senseless" CD 

No lyrics here, so I'm giving them the benefit of the doubt by 
saying they're smart and not just trying to be deep (like most emo-pop 
these days). It's funny how many bands are willing to be trite in some 
lost effort at poetics. Well, this band is really catchy in an indie sort of 
way. Someone told me that this sounds like the PROMISE RING It 
actually really reminds me of the VAN PELT meets WAXX.It'sthose 
Mac style Merge vocals that we all love so much. Really enjoyable, 
especially in this raw state. (LH) 
(Halo Of Merchants, 3855 Narrows Rd, Erlanger, KY 41018) 

LUGNUT - "Like The Dickens" CD 

Super fucking fast, super fucking tight (as fuck), super fucking 
Christian No shit, they reference "God" and bible passages throughout 
this CD, and they even have a song entitled "Punx ForChrist". A good 
record to masturbate to! (JV) 
(Screaming Giant, PO Box 101, Dana Point, CA 92629) 

S B H 

25® bet 

MAD PARADE - "We Stand 
Alone" EP 

The old "wanna be 1979 brit 
punk" band from the '80s have a 
decent new release. I wonder if they 
still play "One Tin Soldier" live? This 
is a pretty rockin' release, especially 
compared to the later old 
MAD PARADEreleases.Idon'thear 
nearly as much of 

THE UNDERTONES vocal thing. 
Sounds good to me, even though I 
haven't kept up with their more recent releases.Limited too. (RL) 
(Dr. Strange, PO Box 7000-1 17, Alta Loma, CA 91701) 


This will be either the second or third time in their history that 
people will shrug their shoulders and wonder what ever happened to 
the MR. T EXPERIENCE. I doubt that this record would even be 
reviewed here without the band's pop punk history, but it doesn't seem 
to be a bad thing for them. Growing into more of a power pop sound, 
they have chosen to keep much the same guitar sound as before, while 
selectively adding piano, organ and a little trumpet. The songwriting 
still holds traces of the pop that first gained them fame, but they are 
leaning heavily on straight rock sounds. After a couple listens you 
should forget what they used to sound like and let it grow on you. Who 
really wanted another boring pop punk record anyway? (PA) 
(Lookout, PO Box 1 1374, Berkeley, CA 94712-2374) 


I don't really understand split CDs as a format, except the whole 
cost-effectiveness deal. MAN WITHOUT PLAN is pretty good hard- 
core, but the vocals are awful, and I can only understand about 1 0% of 
the words. Enunciation is a good thing. Ironically, there's a song called 
"Stop singing, moron." SUPER HI-5 has the same problem. It's a 
straight-out punk band that sounds pretty good, but the singer sounds 
like he's whining with novocaine in his mouth. Then this metal- 
sounding guy joins in. Not a winning combination. There is a song 
called "Sid and Tonic." It's not all that good, but it's a good title. The 
song "Nice and Easy" is annoying, whiny and wussy, and I'm not 
listening to the last three tracks. This is pissing me off. (BC) 
(Fast Music, 368 Broadway #511, New York, NY 10013) 

MIDTOWN - "The Sacrifice Of Life" CD 

Five songs of clean, mid-tempo pop punk with emo leanings. 
Somewhere in between BIG DRILL CAR and everyone who is trying 
to be like later JAWBREAKER. The CD never really takes you 
anywhere and and left me tired after a couple of songs. Though I could 
see this being a big hit, it just doesn't hit me. (PA) 
(Pinball, 977 Valley Rd, D3-329, Gillette, NJ 07933) 

MORONIQUE - "Twelve" EP 

A decent dose of melodic emo 
punk a la GAMEFACE and 
FACE TO FACE. Maybe they should 
have the word "face" in their band 
name. Definitely tight, catchy, and 
done right. Worth tracking down. (RL) 
(Punk Bear, PO Box 252, Dumont, 
NJ 07628) 


Fuck this. These guys are the FUG AZI of pop-punk. (TH) 


I'm getting off big time this week kiddies... yeah the PER- 
SUADERS and the MOORAT FINGERS... double orgasmo. Yeah 
what ever you do... don't stop baby... keep rattlin'-my-brain and 
ravagin' my soul with that raunchy rock 'n' roll. It's just what the 
doctor ordered. Lucky for me, I' ve been hooked on this pill for a whi le 
since a friend brought this bad medicine back from Germany a few 
months back... good thing too, because the Maximum copy we 
received is warped as fuck, only plays about half way through.. . no es 
bueno. So if yer partial to mackin-down on the likes of the 
the DWARVES you'll wanna pick-up on this one like now! What the 
hell is a MOORAT FINGER anyway? (DL) 
(Into The Vortex, Fehrfeld 26, 28203 Bremen, GERMANY) 

THE MOPES - "Accident Waiting To Happen" LP 

I always feel weird when I review something I already own. If 
you aren't hip to the MOPES yet, I'll do you a favor and fill you in: 
they ' re Dan Vapid, John Jughead, Dan Lumley and B-Face. Apparent- 
ly, a few years ago, while Vapid was on tour with B-Face and the 
QUEERS, the two of them started to work on some songs together, and 
now they've grabbed Juggy and Lumley. This is their second release, 
and it's one of the best albums I' ve heard in a while. They ' ve definitely 
shown a maturation since their first EP, being that there aren't any 
songs about apes or hairballs. No, instead, just solid instrumentals and 
catchy heart felt love songs. It sounds a lot like the less 
RAMONES influenced tracks off of the RTVERD ALES' first album. 
Their live performance lacks in motion, but makes up with presence. 


MY LAI - "Paper Tiger" EP 

One sided single, which sucks, 
as that means you get less. 
MY LAI are the best thing I know of 
in Chicago at the moment — awesome 
stuff. Frenzied, anthemic and riding 
that line between structure and ca- 
cophony. Packaging is ace as well — 
minimal info, but looks nice and cov- 
ers the basics. Well done. (TM) 
(My Lai, PO Box 470650, Chicago, 
EL 60647) 

NAIVE - "Title In Russian" CD 

Other than a scene report mention, this is the first I've heard from 
NAIVE since MRR put out their LP in '9 1 . Just so you know, NAIVE 
is a Russian band and that LP was straight up punk with plenty of sneer. 
This CD has the basic sound, but with a bit less contempt coming 
through. Most of the lyrics are in Russian, a notable exception is the 
anti-straight edge song. (TH) 
(address in Russian) 


These are the dumbest vocals I've ever heard with the possible 
exception of the STOICS. It sounds like this guy is sucking helium 
while being anally raped and screaming lyrics like, "Are you horny?" 
I think he ' s try ing to be Jello Biafra and failing miserably . The drummer 
is ex-skater Scott Smiley, and is actually the best member of amediocre 
band. "Now every pro skater on Beer City is currently or was once in 
a punk band." I was impressed too. How else would they be on Beer 
City? So, the vocals suck, the production is pretty bad, and the sound 
is really low. This should never have been made. I can't get over how 
bad this guy sings. R. Shi vely, you suck. Stop singing. If I ever saw this 
guy I'd kick his "nine-inch dick" with my steel-toed boots, which 
couldn't possibly make his voice any higher. (BC) 
(Beer City) 


The side from Japan's PROTESS (one song) isabout six minutes 
longer than it probably should have been. Clocking in (roughly) around 
7 minutes 45 seconds, this ridiculously long punk rock mini- 'Tommy" 
started to lose me after my attention drifted to daydreams of riding my 
bicycle around this nice San Francisco summer day. Nonetheless, this 
is musically somewhere not too far off the path from NEUROSIS meets 
the GAIA. And I'm totally guessing here, but I wonder if the woman 
Yumi that sings here is the same Yumi that played guitar in the GAIA? 
Now Ireland's NOISE POLLUTION, on the other hand, do two 
relatively well-timed tunes (one is just shy of two minutes, the other is 
just over two). These are the songs I'd be listening to while cruising the 
aforementioned bike down Market Street. Some early EXTREME 
NOISE TERROR, some POISON IDEA at times, package it nicely in 
a two minute song (hopefully shorter) and I am satisfied. Look around 
San Francisco at all the speeding SUVs and silly people on cell phones 
drinking lattes; everyone's in such a fucking hurry these days, time is 
of the essence and cannot afford to be spent timing an eight-minute 
EP (or typing a wordy and boring record review, completely devoid of 
caffeine's loving arms... ah...). The bright sunshiny day is calling me. 
(MCR, 157 Kamiagu Maizuru Kyoto, 624-0913 JAPAN) 

NOFX - "Timmy the Turtle/The 

'Timmy" is a whack tune sung 
with English accents and is good for 
nothing but the top rate graphics. "The 
Plan" has that patent NOFX sound 
and is pretty good. (HM) 
(Fat, PO Box 1 93690, San Francisco, 
CA 941 19-3690) 


SCREW 32 comes to mind when NS bursts out with tons of 
hooks and punchy drums. Good production and lots of melody make 
this a head-bobbin' thumbs up. (HM) 
(206, 8314 Greenwood Ave North, Suite 102, Seattle, WA 98103) 

Nada" LP 

The guitarist's last name is Ibanez, and he plays a Mosrite, but 
this band is neither bad metal nor RAMONES wannabes. More like a 
Spanish version of the HELLACOPTERS. (DP) 
(No Tomorrow, APDO 1 134. 12080 Castellon, SPAIN) 

N.Y. WHORES - "Play The Fool" 

I might like this band more if 
this record were mixed differently. 
The vocals are way too clean and in 
the foreground, and the drums are flat 
like the skins are too tight or some- 
thing. The songs are pretty good '77- 
style punk rock, but it's missing the 
markjust a little. (DP) 
(Rapid Pulse, PO Box 5075, Milford, 
CT 06460) 

ONEXMORE - "They Say That 
You Sold Out" CD 

These Belgian straight-edge 
kids know how to blast out the catchy 
positive youth crew. Keeping it alive 
and meaningful. If you're down with 
youth crew, you know, in the Nether- 
lands there is a gold rush! (TJ) 
(Commitment, Klein Muiden 38, 
1393 RL Nigtevecht, the NETHER- 


ONE WAY SYSTEM - "Gutter Box" 3xLP 

Three records, one a singles collection and the other two being 
the "Writing on the Wall" and "All Systems Go" LPs. Pretty cool early 
'80s leather-and-bristles punk from the U.K., which rocks. Pick this up 
and see where OXYMORON got their sound and keen fashion sense. 
(Get Back, Piazza Maltoni 16 50065 Pontassieve, Firenze, ITALY) 


Five songs from this West German band with sort of a 
CHAOS UK-like style, but with a much tougher edge to it. Two songs 
are in English, but the rest is in German. My favorite song starts off as 
a German ballad before picking up the pace. This is a pretty good 7". 
These guys have really ugly punk rock friends though. The inside cover 
is sick. (SR) 

(Na unD?!, F. Surmann, Hohe Strasse 31, 59065, Hamm, GERMA- 


This is all over the map, in a good way. Emo hardcore, arty agit- 
punk, melodic math-rock, it's all here. It sounds as if it was recorded 
live at times, and it can be hard to make out exactly what's going on. 
I'd really like to hear a four-song seven inch of this band, doing their 
favorite stuff, and recorded in a way that would show them at their best. 
There are some great moments on this LP, but they get lost in the 
clamor. It does come with a full lyric fold-out and some neat artwork. 
On the whole, you can tell a lot of effort and heart went into this release, 
and I certainly hope to hear more in the future. (AM) 
($5 ppd: Meat Slap, PO Box 73034, Las Vegas, NV 89170) 

"BBC Sessions" EP 

Recorded in 1997, the three 
tracks on this punchy release com- 
bine vocals reminiscent of early 
fairly standard powerchord punk. 
Crusty guitars and fast tempos ener- 
gize the proceedings, as do the amus- 
ing themes on songs like "Home- 
work" and "Daddy I Want a Pony". 
Might appeal to girl-band aficiona- 
dos, but for most it's about average. 

London E17 6NF, UK) 


(Damaged Goods, PO Box 671 


Yeah, well maybe I'm just a homy ho, but this is sum good 
fuckin' music... no not makin' love I said, fuckin'. Sticky, rude, lewd, 
and crude rock 'n' roll that just don't give a fuck. Lo-brow recordin', 
savage sand paper vocals that grade, and raw-bluesy-fuzz-o-rific 
geetar with OBLIVIANS/REATARDS-esqe attitude... yeah stripped 
down rock 'n' roll that don't tease... just takes it all off. The last track 
is a tore-up version of the BOYS' "First Time". Yeah, mommies keep 
your virgins locked up, because this vinyl will make all those nice HI' 
girls and boys go totally mental and believe me their hips will follow. 
Whoa... (DL) 
(Savage, Margaretav. 26 G, 187 Taby, SWEDEN) 

PIMPS - "Wicca Chicka" EP 

This record makes me want to 
become a punk-preying serial killer. I 
haven't an ounce of tolerance, not an 
inch of capacity in my world, for total 
crap garbage like this. Stuff can be 
shit.. .and then it can be disturbingly 
bad shit. Like, the only time I will 
waste on this is wondering how peo- 
ple could be so fucking into their own 
bullshit that they think they can inter- 
est the rest of us in it. What does it ' 
sound like? I told you — shit! Free box, here you come! (RY) 
(Rapid Pulse, PO Box 5075 Milford, CT 06460) 

PITBOSS 2000 - "Everyone's A Winner" CD 

Well, for those of you that don't know, PrTBOSS 2000 are ex- 
ONE LIFE CREW. So I think you can imagine where things go from 
here. With songs like "Welfare Driveby", "Bomb Tibet", "Bros 
Before Hoes", "Fat Pig", "Blow The Ladder" and 'Texas Is The 
Reason Emo Kids Suck", I figured this was about as ridiculous as it 
comes. They have a statement in the liner notes that says their sole 
purpose as a band is for "Hardcore Entertainment", and that people 
shouldn't take themselves so seriously and to be up for some "good 
natured ribbing, and to engage in some politically incorrect dialogue." 
Something tells me that if a random person verbally attacked PIT- 
BOSS 2000 with some so-called "good natured ribbing", that person 
would be on the receiving end of some well placed fists. I also believe 
that people shouldn't take themselves so seriously, but I really don't 
think that viewing somebody that you don't agree with as a "fag" or a 
"whore" is really the way to go about it. These guys try so hard to be 
politically incorrect and controversial, and in the end they come across 
as a bunch of moronic buffoons. Threatening, controversial or even 
remotely funny? I don't think so. Shit like this brings to mind a mix of 
Rush Limbaugh and Andrew Dice Clay set to fast hardcore music. 
These guys seem to be laying out the bait and most people seem to bite. 
They obviously thrive on the attention they garner within the hardcore 
scene. And in the end what should be nothing more than a mere blip 
on the hardcore screen turns into a mammoth concern not even worth 
the effort. (RC) 
(Use Your Head) 

er Building" EP 

Four pretty generic instrumen- 
tals. Not quite surf, not quite emo, but 
with definite influences of both. (CK) 
($3.50 ppd: Beeshu, 1421 North 69th 
St, Milwaukee, WI 53213) 

^L No Longer 
1 ,l*" ildin 9 



POXY - "The Very End" CD 

Let me describe what the band looks like from the photos on this 
CD and I'll let you guess what they sound like. Spiky hair, leather 
jackets covered in studs with DISCHARGE, MAJOR ACCIDENT 
and PARTISANS written on the back in white paint. Still not sure? 
Okay here's some band s they've played shows with: BASTARD 
SQUAD, AUS-ROTTEN and the CASUALTIES. Eight songs total. 
Not bad, but pretty generic and predictable. (RM) 
(A.D.D., 270 Central St., Hingham, MA 02043) 



THE PRICKS -"Horror House On 
Highway Five"EP 

This is fast, thrashy, and kinda 
spooky, like a cross between FYP and 
the MISFITS. Don't take that as a 
literal comparison, though, cuz it's 
apples and oranges. The songs are 
decent, but there's nothing outstand- 
ing about any of it. Save your pennies 
for pills and glue. (JN) 
(RubberCity, PO BOX 8349, Akron, 
OH. 44320-0349) 


Hail brutal noise metal! PROCESS IS DEAD festers from their 
soft moody build ups to chaotic metalcore explosions. All along, 
venomous screams take command. ADBS annoys with excessive 
sound bites before blowing your ears out with their brutality and 
overdone distortion. That's a good thing. (TJ) 
(Hide The Bodies, no address) 

THE PUT-DOWNS - "National 

The PUT-DOWNS sound a 
bit like MR. T EXPERIENCE. Not 
modern day MTX, but MTX back in 
'89, when they were destroying po- 
seurs at the Gilman St. Project. It's 
mostly their singer, who sounds like 
Dr. Frank's evil twin. The songs are 
raw & simple. Poppy, yet not sissified. 
An extra toot from my horns for their 
good, old-fashioned, crime-glorifying 
cover. (JN) 
(Turkey Baster, PO Box 222059, 




RANDOM CONFLICT - "New World Order" CD 

Decent punk — upbeat and energetic. I'm more enthusiastic 
about the faster stuff (like "1987"— which incidentally made me feel 
pretty old ! ! ), but i t' s well done throughout. They espouse their political 
aspirations in the included info, but spend several songs attacking 
people in songs like "Whore" and "Heavy Metal Slut". Perhaps 
tolerance comes with time, eh? (TM) 

($10 ppd: Random Conflict, PO Box 12262, Huntsville AL, 35815- 

RANDY - "You Can't Keep A Good Band Down" CD 

A few years ago, RANDY were the band that everyone I know 
was talking about. Not because they were an amazingly catchy punk 
band, but because they had a song about the many uses of peanuts. 
Back with what seems to be theirthird or fourth album, RANDY have 
leaped into the forefront the Swedish punk scene. Imagine some of the 
better parts of NOFX and RANCID with intellectual lyrics about 
atheism, dismantling governmental structures and being working 
class. Every song is amazingly catchy with at least one part that will 
have you singing along. One of the best punk records I've heard in 
ages. (LH) 

(G-7 Welcoming Committee, O ox 3-905 Corydon Ave. Winnipeg, 

RAT BASTARDS - "Perpetual Disoder" CD 

A new full length album from this band on Beer City Records. 
1 3 new songs, plus five songs off their old 7"s. This Chicago band 
delivers straight-forward really fast hardcore. It's just pretty aver- 
age — nothing really stands out to me. The cover is pretty funny 
though — they put pictures of themselves in a photo of freaks. (SR) 
(Beer City, PO Box 26035, Milwaukee, WI 53226-0035) 

REALITY - "Young Drunk Punks" CD 

A UK band from 1 982 or so. Don't let the title fool you, This is 
not street punk from yesteryear. More of a post punky UK DECAY or 
MOB type band. A single and an EP with less quality live and demo 
tracks. Not a bad release, if you can find it in your local shop at a decent 
price. Not essential but worthwhile. (RL) 
(Overground, PO 1NW, Newcastle Upon Tyne, NE99 1NW, UK) 

DallasTX. 75222) 

RADIO BIRDMAN - "Radios On!" LP 

Recorded before an invited audience in 1 996, this veteran Aussie 
outfit delivers fourteen songs with great sound, including reprises of 
their best material. As a band, they've always owed a little to 
the STOOGES, and two songs here ("Not Right" and "TV Eye") get 
decent reprises. But it's classic original material like "Burned My 
Eye" (which rivals the studio version) and "Aloha Steve & Danno" 
that seem to sustain the most power. Superior proto-punkish outing, 
even if the mix often drowns Rob Younger's vocals. Get it. (SS) 
(no address) 

THE REAL KIDS - "No Place Fast" LP 

well, it looks like Norton is pretty much responsible for 

digging up the REAL KIDS and brushing them off and getting them 
ready fer their second career.... all the REAL KIDS re-issues have 
been put out by Norton over the years.... including a live album some 

years ago no w this month there are two new slabs fer y er pleasure. . . . 

this album contains stuff from the unreleased "Outta Place" LP and the 

TAXIBOYSEPonBomp nice fotosof Hippy Johnny and crew 

a quality job.... the kids are gonna love this (SW) 

(Norton, Box 646, Cooper Station, New York, NY 10276) 



THE REAL KIDS - "Better Be Good" LP 

By now I hope you all know that the the first REAL KIDS record 
is among the best power pop/punk records of the late seventies, and if 
you don't already own it, or the reissue on Norton, you should. Your 
opinion on that record is very valuable in judging this here slab of vinyl. 
These are outtakes from that record, along with the first REAL KIDS 
seven-inch on Sponge Records and some demos done for Bomp while 
the boys were self-destructing. None of this lives up to that first record 
on Red Star. It' s all alright, but none of it has the over the top, fuck-you- 
up energy that I expect from the REAL KIDS, though the Bomp demos 
are, as far as I can tell, totally unreleased. This is for the completists out 
there only, of which there are many I'm sure. (ST) 
(Norton, PO Box 646, Cooper Station, New York, NY 10276) 

RED LONDON - "Once Upon A Generation" LP 

I don't remember exactly. There's some connection between 
RED LONDON and RED ALERT otherthan both being from Sunder- 
land (brothers? third cousins? soulmates in a lonely universe?). At any 
rate, like their fellow northerners, RED LONDON are back and as 
good as ever on what turns out to be their final recording. Much more 
solid production than back in the day. The main archetypes here seem 
to be a) look back and laugh, b) you can never look back, and c) we're 
breaking up. It's a shame, as they've got more catchy tunes on this 
record than most punk bands have in theirentire careers. Quintessential 
skinhead music. (LH) 
(Knockout, Postfach 100716, 46527 Dinslaken, GERMANY) 


THE REFORMED - "The Days Of Our Youth" CD 

This is most likely what PRESSURE POINT sounded like early 
on in their career, and they seem to have a following so... mine as well 
keep with it. Lyrics? Well, they're not too original. Similar to 95% of 
the bands in this genre. (NF) 
(Elevator Music, PO Box 1502, New Haven CT 06050) 


I'm not so sure BLUES TRAVELER would appreciate this 
band stealing their sound and getting it reviewed in MRR. This is for 
jocks in Birkenstocks — Slovenia must have those too! This is just 
plain wrong, I gotta make it go away. Kill the Slovenian harmonica 
boy! All 5'4" of GEORGE THOROGOOD could kick this band's ass 
in his little high heeled boots no less. I'm not even sure that's a mess 
I'd want to watch. Yech! ! ! (RY) 
(FV, Statera Distro, Resljeva 26, 1000 Ljubljana, SLOVENIA) 

RIISTETYT - "Preloaded Millennium" CD 

Hmm, this is interesting. I can' t quite tell what this is but it seems 
to be somewhat of a "best of for this classic Finnish punk band that 
existed in the early to mid '80s. According to the liner notes there are 
three songs on this that were recorded in 1999. Those three songs 
weren ' t so good, due to the extremely freaky vocals full of echo effects. 
The rest of it is what you would expect from that time era of Finnish 
hardcore. Catchy as hell, mid-tempo punk with those mesmerizing 
Finnish vocals rounding things out. OK class, this is your recommend- 
ed history lesson for the month. (RC) 
(Propaganda, Box 393, 00101 Helsinki, FINLAND) 

(702, PO Box 204, Reno, NV 89504) 

REDRUM - "Sack Of Shit" EP 

A 45 with a big hole in the 
center, and this still has eight songs on 
it. You tell me what it sounds like. 
The songs are more complicated than 
you'd think, being that they're only a 
minute long — you' ve got time chang- 
es and breakdowns, all very well 
played, but this still left me less than 
impressed. I'm not going to run out 
and buy it, but I will check out their 
next release. (SS) 

RED STARS - "Welcome To The 
Party/We Lost" 

Fuzzy and primitive, with a 
REAL KIDS sleeve rip off. I'm a 
little disconcerted by the NATION 
OF ULYSSES guitar riff holding 
"Welcome to the Party" together. They 
really ought to get that propensity to 
steal looked at. Optionally, they could 
take the sound to new, undiscovered 
levels. Sure. (AC) 

(Far Out, PO Box 1 436 1 , Ft. Lauder- 
dale, FL 33302) 


This is a split between two bands that sound as if they 'd be more 
comfortable and current in the late-'70s/early-'80s than now. From 
their LA punk-of-yesteryear sound, to their fashion boutique-style 
punk clothes. Please pass me something more substantial. (BG) 
(Pelado, 521 W Wilson 6103, Costa Mesa, CA 92627) 

Numbers" EP 

Early GO GO's back when 
they had songs like "Fun With Ropes" 
are definitely one of their influences, 
what else, SLANT 6 maybe? I'm 
amazed on how many names I can 
drop. If you do not understand my 
reviews, learn punk history you ass- 
hole! (EC) 

(Teenbeat, PO Box 3265, Arlington, 
VA 22203) 

RUPTURE - "Righteous Apes" CD 

Acollection of RUPTURE tracks from various singles (most of 
which are near impossible to find). While their newer stuff is shy of 
being horrible, their earlier stuff was pretty incredible, even when it 
was trying to piss off all the "PC" punks. 61 songs in all. (MW) 
(Yeah Mate, Po Box 17, Victoria Park WA, 6979 AUSTRALIA) 

■ — — ^y 


THE SAINTS - "I'm Stranded" LP 

Now here' s a blessing. The very first punk album re-released for 
all you undeserving HP heathens to sink your sinful teeth into... 
mmmmm... you'll think you've died and gone to heaven. Australia's 
seminal buzzsaw punk wonders originally released this awesome wax 
back in '77 on EMI. It has subsequently been re-released on Triple X, 
etc. but this temptin' piece of vinyl includes four bonus tracks brothers 
and sisters. So if you can get a hold of this thing, don't miss out on the 
SAINTS' sublime brand o' breathless snotty vocals, disdainful caustic 
lyrics, raw and full-speed guitars, and devastating hooks that sting in all 
the right places. Man, what can I say that you don't already know? The 
SAINTS are the answer to your punk rock prayers. Amen. (DL) 
(no address) 

SATANIC SURFERS - "Songs From The Crypt" CD 

Here' s an idea, not a good one mind you, but an idea. SCREECH- 
SATANIC SURFERS should tour together. This way we could watch 
as the musicianship progressively grows worse while ironically the 
bands seem to get better. Kill me now. (JV) 
(Bad Taste, St. Soderg, 38,222 23 Lund, SWEDEN) 

Grayson Is A Gestapo Agent" EP 

formed in late 1979 in Penrith, Cum- 
bria, England. This little SCONE- 
HEADS EP is excellent primitive gui- 
tar chug-punk with the stripped down 
appeal of the DESPERATE BICY- 
CLES. The songson this limited record 
are from the original SCONEHEADS 
recording sessions on February 28 and 
March 1 3, 1 98 1 . The tunes have stood 

the test of time. You must order this classic early example of British 

adolescent punk at once! (BR) 

(North, 26 Hardhorn Way, Poulton-Le-Flyde FY68AE, ENGLAND) 

SCREAMINGFATRAT - "Nothing Stands The Pressure Of The 
Clash City Rockers..." CD 

Beautiful swirling chaos. Melody and dissonance dancing wild- 
ly in an eternal embrace. This surprisingly amazing CD embodies such 
grand sentiments, and more. Take the absolute best moments of 
you'll start to get the picture. This Japanese band rocks my world like 
nothing has in a while. After hearing so many boring rehash bands, it 
reminds you of how refreshing and expressive guitars can be, when put 
in the right hands. The cover is a great take off from "Black Market 
Clash", too. I know thisis the kind of thingl'd like to hear when the real 
Armeggedon Time comes. Buy this! (BG) 

($11 ppd: Snuffy Smile, 4 24 4 302 Daizawa, Setagaya, Tokyo, 155 
0032 JAPAN) 

SET ALPHA SIX - "Thousands Of Feet Above The Earth" CD 

This has all the elements of a melodic emo rock band that I 
should really dig. Loud yet intricate guitars, a singer who can actually 
sing alright, etc. It is pretty good, but it doesn't fully grab me. Maybe 
the songwriting isn't quite strong enough, or the production that is just 
so "now" sounding, that in a few years it'll sound dated... I don't know, 
it definitely has its moments. (BG) 
(Pinball, 977 Valley Rd, D3 329, Gillette, NJ 07933) 

THE SHITGrVEITS - "Freedom From Reality" CD 

Something like twenty songs of fast, thrashy, mid to late eighties 
punk/hardcore (LIFESENTENCE comes to mind) with a tinge of 
metal. After about two songs things start to get a bit boring. (RM) 
(Industrial Strength, 2824 Regatta Blvd., Richmond, CA 94804) 

SHOCKTROOPS - 'Tun and Fury" LP 

Standard issue street punk, whatever that means at this point, 
right down to the song titles such as "Outraged", Punx 'n' Skins Won't 
Take It" and "There's No Retreat". Nothing bad but nothing spectac- 
ular either. Actually one or two of the songs that have more of straight 
up rock 'n' roll feel are really good. Maybe an EP would' ve been a 
better call. (RM) 
(Knockout, Postfach 10 07 16, 42=6527, Dinslaken, GERMANY) 


Six songs, living snugly with the brick walls of the melodic 
hardcore house. As heard on extreme sports videos worldwide! The 
choruses are less whoa whoa and more from the gut, giving it a slight 
East Coast hardcore sound. Includes pro-pot and anti-cop lyrics. (TH) 
(PO Box 2504, Vancouver, BC, V6B 3W7, CANADA) 

SKELLET - "City Life/On The Line" 

I got this EP dumped on me to review at the last minute, and one 
would expect the dregs of the record review septic tank handed to them 
at the dawning of the deadlines. Sweden's SKELLET take the better 
EGRO and rock it in a fuzzed-out feedback fashion (say that three 
times fast)! These two songs kick your ass a million ways to 
Tuesday ! Fuck yeah ! Only two songs, though. What the fuck? ! ? ! (PB) 
(007, 532 East 14th #15, New York, NY 10009) 

SKIMMER - "Tuftyclub" EP 

Another 7" in the long line of 
SKIMMER records. Pop punk done 
in a basic way, but done well. Nasal 
vocals, three chords and all, much 
like their other releases. If you liked it 
before, then you'll like it this time 
around as well. (PA) 
(Crackle, PO Box 7, Otley, LS21 


SLEAZY ARSE - "Songs Of Hate" CD 

I wonder why Ray assigns me all the melodic hardcore? He's the 
one who actually goes to the Warped tour! These Frenchmen don' t ever 
slow down and partake in some power harmonizing - up there with 
Florida's QUIT. At their best, this band is SQUEEZE on 78 rpm. (TH) 
(Spliff, 8 Rue de la Treille, 6300 Clermont Ferrard, FRANCE) 


Death to the bourgeois five inchpressingpigs!!! 
You are making records the kids can- 
not play ! I love an odd-sized record as 
much as the next record geek, but 
most record players won't even play 
this record. Which is a shame, because 
this is one of the best SLIGHT SLAP- 
PERS songs I' ve heard. When the arty 
get spastic, they sound like this. . . good 
stuff. The LEBENSREFORM side has got weirdo keyboard noises, but 
is no slouch in the hit-you-in-the-face with a wall-of-fucking-sound 
department, either. If you have a fancy record player, get this. Is it too 
literary to say the packaging reminded me of Bataille's Story Of The 
Eye ? (ST) 
(Stickfigure, PO Box 55462, Atlanta, GA 30308) 

SPOILED ROTTEN - "Kung-Fu Leather Jacket" CD do I describe this? It's good and up tempo, but not 
incredibly fast (maybe it' s because of the cold medicine I just took). It' s 
fun, but not frantic. Poppy, but not a direct rip off of any one specific 
band. Great harmonies and poor production (the cracks and hisses get 
on my nerves after a while). I like this, but it doesn't quite rock me to 
the point where I want to move. (BM) 
(Amp, Kenilworth Ave S. Hamilton, Ontario, CANADA L8K-2S9) 

THE STATIKS - "Bombshell Baby" EP 

I must have been pretty fucked up when I saw them live recently 
cause this doesn't sound like what I remember.. .anyhow, musically, I 
pick up a big BRUISERS influence, but only if Al Barr didn' t have that 
"whiskey and smokes" voice. I like this. A very solid debut record. The 
only thing that I question is the band's name. I mean, it's kinda like 
starting a band called WINGHER. Hmmm. Good stuff nonetheless. 
($3.50 ppd: Last Year, 413 Hensley St, Lititz, PA 17543) 

STENMARK - "Earn Money Or Die" EP 

Heavy punk from the Czech Republic. I hear some NECROS and 
NEGATIVE APPROACH here, with a slightly higher metal quotient. 
Definitely '80s HC inspired. The accompanying booklet is very well 
put together and thoughtful. Also, unlike the aforementioned bands, 
STENMARK are sociopolitical. If you like old style HC with a political 
slant, check this out. (BG) 

(Badman c/o Martin Cesky, Nebrehovice 7, 386 01 Strakonice, 

THE STERNS - "Error Their Way Through It..." CD 

Whiney-nasally vocals dominate this spirited pop punk CD. 
Bouncy bass lines and slightly sloppy drums give this some rough 
edges to escape a total SCREECHING WEASEL rip off. (HM) 
($6 ppd: Eric Rogers, 1 Carleton Sq Apt #8, Bradford, MA 01835) 

SUBWAY THUGS - "Cheers To You" EP 

Catchy oi from Vancouver with extremely gruff vocals. This 
one's on a nice looking picture disk with a band photo on one side and 
a cartoon of themselves on the other. Although this EP sounds good 
and is pretty catchy, I don't find it very original at all. Of couse, there's 
a song about lost friends, then another one about getting drunk with 
your mates. "We're here to drink and you might think that we're all 
dinks." (SR) 
(Oink!, PO Box 27813, Washington, DC 20038-7813) 

TELL-TALE HEARTS - "Live Vol. 2— Later That Same Night In 
Springfield" LP 

Sixties nostalgia has reached the point where it's collapsed back 
on itself like a dying star, sucking in light and life. Not an easy record 
to review, I guess. A 1985 set played by a 1965-styled band, released 
three months before 2000. . . y ou figure it out, I haven' t eaten dinner yet. 
I liked the TELL-TALE HEARTS once and have even seen 'em live, 
and they really know (or knew) how to tear it up in front of a crowd. 
You'd never know it from this LP, though you can make out a few 
bright spots behind the wall of murrrk. Limited to 500, which is plenty 
enough to supply the people who need a copy. Great liner notes from 
TELL-TALE HEART Ray Brandes, though. (JH) 
(Corduroy, 41 Fellows St., Kew Victoria, 3101 AUSTRALIA) 


Alright, first off, I think that the TEMPLARS rule ! But the song 
here just doesn ' t meet their lofty standards. The chorus is pretty flat and 
takes the song's energy away. Far from what I expect from them 
nowadays. WODNES: THE GNAS (wild name!) sure are trying to 
sound like the TEMPLARS. Right down to the vocals, leads, even the 
recording and mix (except the guitar sound is more fuzzy than 
twangy). After the first two minutes I decided that I liked the song 
despite the unoriginality. But it just kept on going and going. Very few 
punk or oi bands can write a four-minute tune that kicks ass. (NF) 
(Haunted Town, 1658 N. Milwaukee Ave. #169, Chicago, IL 60647) 

cule" EP 

The English are trapped in the 
bodies of these Americans and it ex- 
presses itself in wired-tight bursts of 
scraping guitar and sudden vocal out- 
bursts that summon the forgotten 
ghosts of indie-UK singles from the 
'70s that I am shit-positive these Mich- 
igan folks have never heard. Okay, I 
will wager that "Hex Enduction Hour" 
has spent some time rotating in the 
brains of these guys/gals which is 
nothing but points in the paint for me. If people referred to this stuff as 
"emo" I'd probably listen to more "emo". Arty in all the right ways. 

(Outer Universe Research, 1 257 Ameluxen, Hacienda Heights. CA 




OS 11 10 



How you feel about this band depends on your solution for the 
equation "SHEER TERROR + (x) = CHAIN OF STRENGTH", where 
x = BL' AST. I know, it' s a tough one, especially for a drop out like me, 
but my new method for reviewing bands involves a strict mathematical 
analysis of the T-shirts displayed in their photographs (this only after 
careful study of the thanks list). Despite this mental legwork, I was 
unable to form a cohesive opinion without listening to the actual vinyl, 
so I reluctantly threw it on. Time apparently hasn't flown very quickly 
for these chaps, as they seem firmly rooted in musical styles from over 
a decade ago, but we won't hold that against them. Tightly played, 
upbeat hardcore, that owes a lot to the sounds of GORILLA BIS- 
CUITS, CHAIN OF STRENGTH, and even some lighter fare like 
RITES OF SPRING, but sounds more than anyone else like MAJOR- 
ITY OF ONE, who I'd forgotten about completely 'till listened to this. 
Not bad at all, if you can ignore my lame attempts at cynical-rock-critic 
humor. (AM) 
(Indecision, PO Box 5781, Huntington Beach, CA 92615) 

TOMMYROT- "Just Tommyrot" CD 

Very weird deadpan "heavy" pop-punk with a monotone singer, 
straitjacketed by-the-numbers playing and a bunch of guys that look 
like they're at least in their '30s if not in their '40s. I don't really know 
what to make of this, not that the songs are that bad. Let's just say that 
the performance (and this is an understatement) is somewhat eh... 
"stilted". The weirdest being the song "Just," where the singer dead- 
pans about "someday I'll make thirty bucks or so.. ."and "'s not much 
but it gets me food". Certainly this song could be a scathing indictment 
of being homeless, but it just comes off being outright bizarre. Of 
course, if it was ajoke, then we could all laugh it off, but the scary thing 
is that it isn't. Actually, the whole CD abounds with moments like that, 
also the hackneyed guitar riffs contribute. Pure genius or just misplaced 
intentions, judge for yourself. (JY) 
(AnswerC, 510 Highland Ave, Milford, MI 48381) 

THE TONE - "Wide Eyes And Nonsense" LP 

Hmmm... at times this '77 style punk band from England almost 
sound like HARD SKIN or, dare I say, the CLASH. Well, this singles 
collection is pretty damned flawless. Those of you who, like me, have 
got all the singles, already knew that the TONE are London' s best kept 
secret. If you're new to the name, imagine the best retro punk record 
since "And Out Come The Wolves". I'll admit it; I like that RANCID 
album and I love the TONE. (LH) 
(Broken Rekids, PO Box 460402, San Francisco, CA 94146) 


TOXIC NARCOTIC is Boston's longest standing DIY punk 
band, and they're good. Fast as fuck hardcore music with a street punk/ 
oi mentality. Lyrics like "Anarchist or Nihilist, all junkie punks are 
hypocrites to feed the rich just for a fix" from "Junkie Bastard" or "War 
for race church and state or just for hate/ Annihilate oppress enslave 
pollute and waste/Rape and burn with no concern till all is spent/All 
races creed religious sect or government /PEOPLE SUCK" from 
"People Suck" or "Lies, implications, and rumors" from "L.I.A.R." 
(Rodent Popsicle, PO Box 335, Newton Centre, MA 02459) 

THE TREBLEMAKERS - "Versus The Doomsday Device!" LP 

What sort of instromancy determines which surf records get 
picked for review and which don' t is something that is as much beyond 
me as it is to anyone else out there who cares. I just do my job, OK? 
If you're sick of surf instros, stop your whining and get on to the next 
review, capiche? The TREBLEMAKERS take an approach not un- 
similar to the BOMBORAS. Not only is the sound clearer (at the 
expense of some atmosphere) than on their first (?) LPof acouple years 
ago on Primitive, but the addition of an organist makes the comparison 
hard to resist. The songs are all solid compositions with enough variety 
to maintain interest (including some well-placed fuzz). (DD) 
(Dionysus, PO Box 1975, Burbank, CA 91507) 

TSUNAMI BOMB - "Mayhem On 
The High Seas" EP 

Wow, this sounds straight out 
of "Hell Comes To Your House", 45 
GRAVE, when the girl sings, SU- 
PERHEROINES when the guy sings. 
Horror Punk except for the last song, 
which is horrifying in another way, 
sounds like that ska band from Or- 
ange county with the blond chick, shit 
I cannot remember the name, well 
that's good isn't it? (EC) 
(Checkmate, PO Box, Berkeley, CA 94704) 

22 JACKS - "Going North" CD 

Hey, here's the latest from Steve Soto and company. There's 
some life here and a lot of tuneful punk. But you constantly find 
yourself thinking, "this really isn't as good as WAX, much less the 
ADOLESCENTS". I mean, they've even got Ed Stasium on the 
board. It's totally competent pop punk... SoCal style. (LH) 
(Side One Dummy, 6201 Sunset Blvd Ste 211, Hollywood, CA 

UMLAUT - "Finland" EP 

This 6" is included in Inside 
Front #72. Check this: "Umlaut is a 
transient band and can be found in 
various squats and shelters through- 
out Finland." Long live Scandina- 
vian hardcore! Or is it? You decide. 
Full heavy assault, including the 
friendly plagiarizing of and subse- 
quent destruction of the "Paint It 
Black" guitar line. The lyrics and 
liner notes alternate between classic 
anti-system wailing to a more self-aware, comic recognition of the 
limits of that very approach. It's unrelaxing, snide, good. (AC) 
(Crimethlnc. Intl. Workers Conspiracy, 2695 Range wood Dr, Atlanta, 
GA 30345) 



B sum 


The faster, harder parts of MONSTER TRUCK DRIVER charge 
Jay Bradley's new band. Still plenty of power and spunk. Hook filled, 
yet very straightforward Beer City punk rock. (TJ) 
($10 ppd: Beer City, PO Box 26035, Milwaukee, WI 53226) 

HiTj ml & 


SCUM NOISE from Brazil is very politically charged like 
bands similar to AUS-ROTTEN, but I was still able to hear a death 
metal influence as well. VICTIMS OF GREED is the highlight of this 
split. Combining elements of ENEMY SOIL and BATTLE OF 
DISARM, VICTIMS OF GREED make this a must listen. (JV) 
(F.F.T., Asahi Plaza Umeda, 704, 4-1 1, Tsuruno-Cho, Kita-Ku, 530- 
0014 Osaka, JAPAN) 

THE URCHIN - "Fragile Songs in Lukewarm Dreams" CD 

Crunchy pop punk, not unlike their recent split with the THUMBS 
or most of the other pop punk on Snuffy Smile. Strongly influenced by 
SNUFF and JAWBREAKER, though getting a little faster at times. 
They do a decent PEGBOY cover along with 14 originals. (PA) 
(Snuffy Smile, 4-24-4-302, Daizawa, Setagaya-Ku, Tokyo, 1 55-0032, 

anol" EP 

Fast, tough. Simple, like a 
Chuck Taylor high-top sneaker to the 
from the not-so-mean streets of Oly m- 
pia, Washington, but fortunately for 
us they owe more to Southern Com- 
fort and Old Grandad than 
GIANT. A nice two-guitar wrestling 
match backs up the gravely-voiced 
bandleader. It's been a pretty slim 
month for quality releases (at least from my corner of the breakfast 
table), but as long as records like this creep in it' s not an utter loss. (JH) 
(MortviUe, PO Box 4263, Austin, TX 78765) 

VECTORS - "Some Raging Rock-n-Roll II" 10" 

Don't try this at home. This will overtake your weakling soul. 
Must.. .obey. ..VECTORS. This is the goddamn shit I live for. Ggrrrrr! 
Grunt grunt. I'm gonna go get this record, and eat steak tonight, drink 
something cheap, and scratch myself. I might let you join me, or you 
might need to clear the fuck out! The VECTORS rock-n-RULE! This 
even sounds great on MRR's most fucked turntable. Wanna go for a 
joyride, neighbor? (RY) 
(Mans Ruin) 

VITAMIN X - "Once Upon A 
Time" EP 

With tons of breakdowns, pick 
slides and finger pointing choruses, 
VITAMIN X's second EP is a lot 
more solid than their debut from a 
couple of years back. While some 
songs are stronger than others, this 
EP is rad fast youth crew that takes its 
inspiration more from 

FRONT than the slower '88 bands. 
There's a booming youth crew scene in Holland right now and 
Commitment Records is its headquarters. Write 'em and get a catalog 
if '80s youth crew is your thing. (MW) 

(Commitment, Klein Muiden 38, 1393 RL Nigtevecht, The NETH- 

- split EP 

BABY DEMONS do psych 
garage pop and WHITE FLAG is only 
good when Kim Shattuck is involved. 
Not for me. (RL) 

(Just For Fun, PO Box 2032, 61 2 02 
Finspang, SWEDEN) 

WIND OF PAIN - "Worldmachine" LP 

Straight ahead fast and crusty punk rock from Finland. They 
occasionally go into these slower mid-tempo streaks, but I preferred 
the faster stuff. This is pretty basic and has those bleak political lyrics 
that tell you to "stand up and fight". But in reality, most people would 
prefer just to "sit down and listen." (RC) 
(Malarie, PO Box 10, 60-170 Poznan 27 POLAND) 

VENDETTAS - "Halloween" EP 

Four songs from this SUB- 
SONICS related crew, ranging from 
deranged cuteness to soulful rocking, 
with a pop-up gatefoldjacketforgood 
measure. Quite pleasing. (DD) 
(Worrybird, PO Box 95485, Atlanta, 
GA 30347) 

WISIGOTH - "Aversion Du Schizoice" CDEP 

If this had been released on vinyl it might have made a top ten 
or two, but instead we have aCD that only I get to listen to. WISIGOTH 
is a great live band, evidenced by their shows at Gilman and Radio Free 
Records in the Bay Area. Musically they are LESSER OFTWO meets 
OJOROJO. The production here needs help, but it still demands your 
attention. (JV) 
(Gobelin, PO BOX 893, Sherbrooke, QC, J1H 511 . CANADA) 

WONKY MONKEYS - "Blood Save Your Soul" CD 

Goofball French joke-boogie-punk with side-splitting undeci- 
pherable accented English ("...c'mon everybody, weere dee wonkee 
monkees and itz time to take de error (?) train....")- Energetic and over 
the top in a BAD MANNERS meets REZILLOS type way. Not 
particularly original, but extremely engaging in its enthusiasm. Makes 
unexpected use of horns, harmonicas, accordions, generally an every - 
thing-and-the-kitchen sink approach here. Pretty damn cool. Touches 
of ska, garage, blues-rock, everything one can expect and more. 
Continental party music with the dashing "Cyril" as your host. (JY) 
(Shark Attack, BP 171 75563 Paris Cedex 12, FRANCE) 

THE WORKES STIFFS - "Through Thick And Thin" CD EP 

This one is a no-brainer. Five originals, one cover (WEIRDOS), 
all exactly what you expect from one of the finest streetpunk bands 
alive. I listen to this daily, it fuckin rips. Now buy it shithead. The end. 
(TKO, 4104 24th St. #103, San Francisco, CA 941 14 




"Foibles And Follies" EP 

So, about a month ago I met 
these three nerdy guys at a record 
shop, we got to talking and they tell 
me they're in a band that was playing 
that very same night. They invite me 
and I go, simply because, well, I'm a 
nerd and have nothing better to do 
than watch three other nerds jump 
around on stage. Turns out they are 
band I have only heard mediocre 

things about. I prepare myself for boredom, but I'm suddenly sur- 
prised... these guys rock! Sure, it's not original, and yeah, they are 
poppy like the QUEERS and MTX, but clones? Hardly. They have 
more of a KUNG-FU MONKEYS, Mutant Pop sound than Lookout! 
circa '96. Time passes and here I am, all doped up on cold medicine, 
reviewing that very same EP! That's incredible!! And so are these 
guys! Special thanks to Jason Bay watch for the 
(Far Out, PO Box 14361, Ft. Lauderdale, FL 33312) 

W.O.R.M. - "Mullet In The Head" CD 

Nice cover concept, featuring the dodgiest wigs I've ever seen. 
This band don't know if they want to be a serious pop-punk band or 
humorous like WAT TYLER. Unfortunately they're nowhere near as 
funny as the TYLERS but their music is upbeat and catchy, along the 
lines of SCREECHING WEASEL, but with northern English accents. 
Some of the lyrics did bring a grin to my face, and some of the music 
had me tapping my feet enthusiastically, but there's 21 songs on here 
and sorry to say the quality's not consistent. Still, as English pop-punk 
bands go, they're not bad. They're not SNUFF or even 
GOOBER PATROL, but they're not bad. (AM) 
(S.I.D., 7 1 South Crescent, Duckmanton, Chesterfield, Derbyshire S44 
5EQ, UK) 

ZYMOTICS - "(Eddie's) Random 
Bombing" EP 

Apparently the name of this 
snotty Japanese outfit has changed, 
(if I'm to understand the note inside 
correctly) and they are now 
BOU SOU NEZUMI. Ultra- '77 na- 
sal SEX PISTOLS-type fodder. Good 
sense of humor. Pretty cool and amus- 
ing. "Break The Radio" is the best! 
Would be quite at home on a mixed 
tape for the car, with BUZZCOCKS, 
REZILLOS, NINA HAGEN, X-RAY SPEX... I'd throw on some 
MISSING PERSONS for good measure. Ooooh, I'm getting in the 
mood (and you have to be in that mood)! (RY) 
(Answer, Hase Bid. No .2 B 1 . 5-49 Osu 3 Naka-ku Nagoya-City , Aichi 
460, JAPAN) 

YARDBIRDS - "For Your Love" LP 

Reviewing this thing is like reviewing the SEX PISTOLS 
record... what can I say ? This was the post-Eric Clapton record by these 
mid- '60s proto-psych punks that really started the train rolling; the 
guitars got louder and the songs are almost all untouchable classics. 
Name a current garage band that can play stuff this wild and can also 
sing in non-wuss harmony... I'm waiting. (RW) 
(Get Back, Sri Piazza Maltoni 16, 50065, Pontassieve, ITALY) 

illtlSlli: IMflWIOiV.VlMITII striki: 

V/A - "And The New Japan— U.S. 
Security Threat" EP 

Four band sampler of Japanese 
hardcore with a pointed political bend 
against the proposed "Japanese- 
American Defense Cooperation' ' bill . 
Listening provided by 

SENT. Standout would be the 
unfortunately already broken up (or at least that's what I've heard). 
Wish the sampler had more background on the info, I had some trouble 
understanding the info that was provided, and it left me with more 
questions than anything else. (TM) 

(F.F.T., Asahi Plaza Umeda 1212,4-1 1, Tsuruno-Cho, Kita-Ku, 530- 
0014, Osaka, JAPAN) 

V/A - "Back To Rockaway Beach 3" CD 

Another limp compilation to throw on the fire, not as limp as I 
would have expected from the title, but still this is doin' nothing for me. 
Here you got 29 bands you never heard of from all over the world (most 
of which we'll fall thankfully back into obscurity where they belong) 
It's a pretty dismal mix of punk rock/pop punk with a few bands 
venturing into the harder-edged nether regions. This is a shitload to 
stomach in one sitting, that's for sure. OK, I didn't vomit through a few 

(Amp, 92 Kenilworth Ave South Hamilton, Ontario, CANADA L8K- 

V/A - "The Best Punk Rock In England, My Friend" CD 

The latest in this great series of UK bands. The usual strong dose 
of Crackle bands, as well as RAGGITY ANNE, SCARPER (whose 
EP I still need but cannot find, "my" friends), SPY VERSUS SPY, and 
many other mostly unknown bands. A no-brainer for the pop punkers 

(Snuffy Smile, 4-24-4-302 Daizawa, Setagaya-Ku, Tokyo 155-0032, 

V/A - "The Bad Vibrations" LP 

This is a collection of songs from some obscure '60s garage 
bands. Sure, this was DIY, but I don't think this music is all that 
different from what was popular during that period aside from the lo- 
fi-ness. Where's the anger? Where's the rebellion? The WANTED 
(no address) 

V/A - "Bandana Thrash, Vol. 1" 
flexi EP 

Four bands on the forefront of 
the early eighties hardcore revival 
here... if you haven't encountered this 
yet it's sort of a cross between the 
SUICIDAL Cyco scene, complete 
with baseball hat flipped up, and the 
North of England dole thrash of HER- 
of these bands are from Japan (CRU- 
DON, and L.I.E.) where they don't do things by half measures, leaving 
only WHAT HAPPENS NEXT? to represent the USA, although they 
have the pedigree to measure up. If you like raw, unpolished hardcore, 
what are you waiting for? Skate over to the record store and stir up a pit. 
And don't expect this stuff to go away anytime soon — Max is already 
planning volume two. (AM) 
(625, PO Box 423413, San Francisco, CA 94142-3413) 

V/A - "Beer City Underground Invasion, Vol. 2" CD 

The majority of the songs here, like most of the releases on this 
label, are straight-ahead thrash, others have more of a pogo punk thing 
going on and one ortwo have more of snotty orgaragey sound. The best 
cuts here appear courtesy of the DAGGERS(catchy, mid-tempo pogo 
punk), the MISCREANT'S (fast, but still catchy and tuneful, a fine 
example of skate rock), the S WINES (dead-on ANGRY SAMOANS 
with a heavier guitar sound) and BURNING KITCHEN (mid-tempo 
DISCHARGE meets 45 GRAVE=great!). 30 songs with some win- 
ners, some losers, but overall a good listen. (RM) 
($5 ppd:, Beer City, PO Box 26035, Milwaukee, WI 53226-0035) 

V/A -"Down In Front— Outtakes & Unreleased— 24 Sones" 

"Down In Front" contains recordings by eight bands Aaron 
Cometbus played drums for over the years, each with one side of a 
single. Eight distinct personalities, but with one signature percussive 
thread sewing them together. No CRIMPSHRINE, of course, so stop 
drooling on yourself. The acoustic "Beastly Bit" (this is great) and 
"Reach For the Bottle" on the PINHEAD GUNPOWDER side should 
appease this faction. The SHOTWELL COHO songs aren'ttheirbest, 
but they are as perceptive as I' ve come to expect. I was impressed with 
the REDMOND SHOOTING STARS 7", released a couple of years 
back, and was happy to get these extra tracks — they're split with two 
songs of pure SWEET BABY brilliance. (You'd get a kick out of 
watching me try to explain SWEET BABY to Sean from Connecticut. 
How many times can he call me a hippie in one day? Hippie, what?) 
I'd never heard of MUNDI, another Olympia project, but "Stab You 
in the Eye" is a nice piece of work. Also didn't know about the 
COSMETIC PUFFS (spunky and lo-fi, tinny boombox pop). EFS is 
a crappy fuckin recording of goof, sincerity, and sludge, and 
aging is sloppy/pristine, with individual AC copy art sleeves and no 
extraneous bullshit. You can file it with your Cometbus back issues 
and they won't complain. Despite my doubts about such self-centered 
projects in theory, Aaron handles his creative (and personal, it seems) 
history with sentiment and care— an unpopular attitude which helped 
make his shit so popular. 1020 made— you know if you want this, so 
I'll shut up. I already ordered mine. (AC) 
(9 ppd: No Idea, PO Box 14636, Gainesville, FL 32604-4636) 

V/A - "Free Flight: Unreleased Dove Recording Studio Cuts 1964- 
1969" CD 

An interesting collection from Minnesota's Dove Recording 
Studio. The studio was infamous for recording the NOVAS' 'The 
Crusher". As the story goes, bands recorded with them, then left with 
the tapes due to some type of disagreement. That seemed to happen a 
lot back then. Here's the collection of what was left. Some cool tracks 
(Get Hip) 



V/A - "Fuck You Up And Get 
High— A DWARVES Tribute" EP 

Many bands I've never heard 
of, mostly from the Midwest and Can- 
ada, tributing the beloved DWARVES . 
Not a bad job on most accounts. 
CRYPT 33, PA,and GHF. Not a trib- 
ute I'd rather listen to than "Blood Guts and Pussy" itself, but that's 
what tributes mean to me most of the time. (RY) 
(Transparent, 6759 Transparent Dr. Clarkston, MI 48346) 

V/A - "Live At The Boston Arms" EP 

The four bands here: THEE HEADCOATS, 

THEE HEADCOATEES are captured live in 1998 in North 
London. Billy and company do a pretty impressive blast of 
snarly punk rock in "Girl From '62", all other bands here pretty 
much do their take on the HEADCOATS sound with some 
slight variation. A fairly accurate recording of an alcohol- 
induced night on the town here, including the bad sound and 
general chaotic air. For fans of the HEADCOATS contingent 
I suppose.. .(JY) 
(Damaged Goods, PO Box 671, London El 7 6NE, UK) 

V/A - "Great Australian Fuckwit" CD 

Rude, crude punk rock, RUPTURE being much more so 
than the more street punk STANLEY KNIFE and BLURTERS. 
I can, somewhat, appreciate the "fuck you" attitude of RUP- 
TURE. I love the DWARVES "Blood, Guts & Pussy" LP. But, 
why is it whenever people want to stick it to "PC fascists" they 
immediately begin yelling faggot (RUPTURE)? I think it has 
much more to do with homophobia than trying to push buttons. 
(no address) 

V/A - "Loco Diablo Underground Sampler #4" CD 

CDs have truly replaced tapes. '80s hardcore demo tapes 
have been replaced by these things, which pack a bunch of 
various bands onto a CD with no real thought to style or quality. 
This thing sucks, there are some good bands trapped on here but 
I'm not gonna promote this crappy send-us-a-demo sampler 
scene, these things are just shit landfill made possible by the 
biggest peacetime economic boom in American history. The 
insert is all ads.... (RW) 
(Loco Diablo, PO Box 332, Thomasboro, IL 61878) 

V/A - "Invasion #4" CD 

Wow, 30 songs and only five are more than two minutes 
long, the maximum time for a punk rock song. Anyway, this here 
is a Beer City comp with the usual variety of punk and hardcore, 
some good, some not so good. DISDAIN, JERK CIRCUS, 
many more. (DP) 
(Beer City, PO Box 26035, Milwaukee, WI 53226-0035) 

V/A - "Killed By 7 Inch, Vol. 8" 

Another one of those Euro 
boot singles that no one is permit- 
ted to buy. This one features the 
talents of '70s stalwarts VIBRA- 
TORS (rare promo-only song), 
OUS PYJAMAS. All good, find 
the originals, it's easier. (RW) 
(no address) 

VWHQAfttfcV M&hAWOti 


V/A - "Mandatory 

Marathon" EP 

Originally this was released 
as the "Mandatory 

Marathon" four- cassette box set, 
which apparently was limited to 
300 copies. It sounds like this EP 
was pressed right off of those cas- 
settes, after maybe they were 
soaked in a bucket of water. This 
EP totally sounds like an old worn- 
out tape! There is some crazy shit 
here! And I think the majority, if not all of it, is exclusive to this 
comp. You get tracks by CHARLES BRONSON, CAPITAL- 
PINNACLE. And try as I might, I could not figure out what the 
back-masked sample was at the end. Everyone buy this and 
report back to me. (PB) 

(Amendment, 580 Nansemond Crescent, Portsmouth, VA 



V/A - "No Hesitation To Resist" 10" 

The cover of this one is a classic. A shitty cartoon of a 
bunch of punk kids fleeing a nuclear explosion while they're 
beaten by cops and Nazi skins. Awesome. Pretty solid crustcore 
comp here, with some stand out performances by 
DESCRIPTION. This is really a no- brainer. You like NAU- 
SEA? You like this. (ST) 

($10: Forest, c/o Hideyuki Okahara, Ceramica 2 #301, 2-1-37 
Minami, Kokubunji, Tokyo 185-0021 JAPAN) 

V/A - "Punch Drunk" CD 

A strong street punk comp from TKO, with single tracks 
from prior releases such as UPSETS , DROPKICK MURPH YS, 
BELTONES, and on and on. A good sampler if you don't have 
every TKO release. (RL) 
(TKO, PO Box 103, 4104 24th St, San Francisco, CA 941 14) 

V/A - "No Time To Kill" LP 

Holy shit, a decent compilation. This is probably due to the 
fact that this was put out on LP and CD (as opposed to CD only). 
What you've got here is six bands who straddle that SoCal and 
mid '90s East Bay hardcore sound on side A. Those bands are: 
DRIVE IN (who have a definite DC feel also), the FORCE, and 
GOOD RIDDANCE. The B side to this record is more punky, 
with tracks by: CIGAR, the CRIMINALS, KILL YOUR IDOLS, 
FRANTICS, the GAIN, and F-MINUS. Overall, a winner. (JF) 
(Checkmate, PO Box 4099, Berkeley, CA 94704) 

V/A - "Rip Off Records: The Early Ones" LP 

One stop shopping for the first seven Rip Off Records 
singles... with liner notes. I wasn't aware these were all out of 
print — a number of these are frequent used bin residents in 
Frisco. Not a crappy song in the bunch and the rock and roll is 
raw enough to not get fucked by the remastering it was subjected 
(Rip Off, 581 Maple Ave, San Bruno, CA 94066 

V/A - "Nothing To Prove" CD 

Oh my God, that band CHESTER are back again. I feel like 
I'm worshiping them from afar. They seem to be growing and 
evolving right before my eyes through records and compila- 
tions. Again, they become the hi-lite for me with their insane pop 
slop punk. Oh my God, ANAL BEARD are on this. Funny as 
fuck — I was sure they were just a joke band created to play gigs 
with J CHURCH and WAT TYLER. Who would' ve suspected 
a band whose drummer has a huge W.A.S.P. tattoo would ever 
record. Pretty hit-or-miss punk comp as punk comps go. Most 
bands featured are certainly worth a listen if not exactly... 
memorable? Still, worth it for CHESTER and ANAL BEARD 
alone and that's no joke. (LH) 

(Life Automate, 10 Hodcombe Close, Eastbourne East Sussex, 
BN23 8JA, UK) 

V/A - "Oi! Oi! That's Yer Lot, Vol. 4" LP 

This is the final installment in this series, put out by a label 
that has re-issued records and produced compilations of some of 
the finest oi and punk rock around... This one in particular is a 
damn good record. Standouts include the BUSINESS, the 
(Get Back) 

V/A - "Sabre Records Story" CD 

Here's a steamy little compilation, that comes with a tell- 
all booklet about Sabre Records - a slice of late '50s and '60s 
Detroit Rock n' roll dance history, featuring 
THE VALIANTS. Picture hot sweaty gyratin' teens, jumpin' 
and a twistin' like there's no tomorrow. Yeah, 27 ass shakin' 
tracks with heavy doses of good ol' nasty tenor sax and locomo- 
tive rhythm pumpin' up the rear.. .now go find a partner and do 
some heavy petting. (DL) 
(Get Hip, PO Box 666, Cannonsburg, PA 15317) 

V/A - "Screaming Giant Pizza Comp" CD 

Twelve bands with two songs each should be enough for 
anyone to tell these are mediocre punk/ska bands at best. It's 
really subtle to me, but this is some sorta Christian band comp. 
The only band possibly worth naming is 
(Giant, PO Box 101, Dana Point, CA 92629) 

V/A - "Songs About Chicks" CD 

Ha, ha, ha... hmmm. A pop punk compilation about girls. 
Isn't all pop punk about girls? Aren't all pop punk bands about 
getting girls? Isn't this comp totally redundant? Doesn't it all 
seem boring? Loads of jump-up-and-down pop punk bands that 
appeal equally to baggy pants skate-loving teen girls as they do 
to creepy "older" guys that hang around public toilets. If you told 
me that this was all one band and not a compilation at all, I would 
have little problem agreeing. (LH) 
(Tank, PO Box 40009, New Bedford, MA 02744) 

V/A - "Still Hate Your Neigh- 
bors" EP 

It says here that this is "4 
blasts of dumb NZ punk rock 
1980 to 1983". The four bands 
here including the GORDONS, 
BORED GAMES. Seems to me 
a somewhat arbitrary selection 
of NZ bands, some of which (esp. 
the GORDONS) would be hard- 
pressed to be called "dumb 
NZ punk rock". And, except for the GORDON'S great "Adult 
and Children" here, I see no outstanding reason for the 
inclusion of the other tunes, all which are good but not 
especially classic. Certainly, the mod-pop BORED GAMES 
track would not qualify as "punk rock". This is a rather 
pathetic attempt to do some sort of NZ "Killed By Death," but 
it fails rather miserably in the process. I don't even think 
these tunes are that hard to find. (JY) 
(no address) 

V/A - "The Spirit Lives On: A Tribute to Raybeez and 
Warzone" CD 

As the title says, this is a tribute to Raybeez (the 
vocalist for WARZONE) who past away in 1997. This comp 
has 27 bands doing 27 WARZONE covers... some of the 
NEXT STEP UP, PITBOSS 2000, etc... plus it includes one 
WARZONE track that was originally released on a comp EP 
back in 1993. I personally would rather listen to the first 
WARZONE EP than covers of later WARZONE tracks, but 
this was a nice memorial. In addition, if Raybeez had such a 
positive impact on these bands, why are most of them so 
damn negative? (MW) 

(Hatecore, PMB 287, 1075 Broadfripple Ave., Indianapolis, 
IN 46220) 

V/A - "This Is Mod" 2xLP 

Although unlikely to appeal to those with resolutely 
punkish tastes, this comp fills a huge gap, offering up a 
selection of clearly recorded mod tunes from circa 1979 — 
most of them incredibly catchy mid-speed guitar pop mor- 
sels. The most notable of the twenty trax include 
the CIGARETTES ("Can't Sleep at Night"— a classic that 
bridges slow, incisive punk with mod), the DEADBEATS 
(guitars reminiscent of '60s punk meld with mod pop-punk 
in this lo-fi tune - and let's not forget the great hand-claps!), 
the invincible NIPS (their best tune, "Nobody to Love," 
imports late- '70s punk energy into a great pop tune), and 
the SUSSED ("I've Got Me Parka", the funniest song here, 
tells of giving up your leather jacket for a mod parka). 
Predictably, a WHO influence permeates many songs, but 
it's still a strong batch that might make you want to invest in 
a Vespa. (SS) 
(Runt lie, PO Box 2947, San Francisco, CA 94126) 

V/A - "60s Beat Italiano Vol. 1" CD 

I was saying something about '60s nostalgia, wasn't I? 
One of the most pleasantly "listenable" releases to land in my 
bin for a while, "60s Beat Italiano" collects ace tracks from 
twenty-something Italian beat, garage and borderline psych 
bands that deserved much more than they probably got — 
NOI TRE, HUGU HUGU (who turn in a killer cover of 
"Somebody To Love" in Italiano), I RAGAZZI DEL SOLE, 
among others. Lyrically I've no idea what they're on about, 
but it's probably firmly in the broken-hearts-and-crushed- 
gonads vein so popular at the time. Right up there with the 
best '60s compilations I've ever suffered through, and I've 
suffered through more than my fair share of 'em. (JH) 
(Get Hip, PO Box 666, Canonsburg, PA 15317) 

V/A - "Underground Invasion Volume 3" CD 

This CD features 30 bands, and most of them sound like 
LOGIC, or somewhere in between. Bands that appear are: 
WAGE, LETDOWNS, and WHITE PIGS. It seems to be 
priced right. (JV) 
($5 ppd: Beer City, PO BOX 26035, Milwaukee, WI) 

V/A - "You'll Never Eat Fast Food Again" CD 

A comp with tracks from recent Drive Thru Records 
releases, and there have been some pretty good ones lately; 
RIVER PHENIX), etc... Some bonus unreleased tracks too. 
Fans of Fat and Dr. Strange will like this. (RL) 
(Drive Thru, PO Box 55234, Sherman Oaks, CA 91413) 

They're working hard for your favorite band it's the 

Label Spotlight 


Paolo has been a friend of mine for so long, 
it's stupid to avoid saying it. I've been helping his 
label too, making the web page, programming 
work (, or writing 
the distribution catalogue during the years. So 
why this interview? It's not getting some easy 
propaganda for a label I like and I'm near to, it's 
an occasion to underline the meaning of a HC 
label in Italy. The thing seems to be attractive to 
me, and I'm ignorant on many of the aspects of an 
HC label life, with the exception of noting that 
Paolo's house is full of records and he produces 
something new on a regular basis. But what's 
more beyond this? What's the reasons that bring 
those records into our hands ? 

S.O. A. has been active for the last 1 years, 
produced over 50 records and saw many things 
for sure. It has some stories in common with 
many different realities around in Europe and in 
the States maybe. It's what I want to talk about 
without extolling or falling in the advertising type 
interview, trying to confront Paolo, criticizing 
him if necessary on all aspects of the life of who 
spend half his time searching for bands to pro- 
duce and the other half to make parcels to let 
records go around. And all this it seems to be 
made just for passion not to get rich... 

MRR: How did you approach the wonderful 
world of HC music? 

Paolo.I used to be a metalhead back in 80' s, and 
the step from Nuclear Assault to S.O.D. or from 
Metallica to Misfits was pretty simple at that 
time. Metal music was still ok (even if I started 
selling the collection in order to pay new HC/ 
punk records) but punk/HC ideals seemed to be 
more attractive to me. I still dig lots of old and 
modern metal if you care, and I obviously have a 
bunch of regrets for selling the metal collection. . . 
Anyway I started buying the '88 albums by 
C.O.C., Suicidal and DR. I., which to be honest 
were pretty lame, but I knew that this was my 
music. The first pogo experience I had was a Died 
Pretty gig. Rome did not offer many events, so the 
first HC gig was a legendary Youth Of Today/ 
Lethal Aggression in Florence, April 89. After 
this event I started hanging around at gigs and 
getting in a crew of HC dudes. Then the next step 
was a HC/thrash zine that consisted of handmade 
writings with only Italian bands interviewed on 
it. After 6-7 months I started S.O.A. with Massi- 
mo and another guy (who mysteriously married 
last year...). 

MRR: You listen to HC, you listen to punk and 
grind... do these labels make a sense? 
Paolo:You forgot Oi! and sXe... Hmmm I dunno, 
being 26, almost 27, makes you think that it 
doesn't matter how you label yourself or what 
you listen to. It's pretty common to think that 
sXedgers are all middle class and crusty punks 
have dreadlocks and stink. You know, you've to 
know people, and for me it doesn't matter if you 
smoke or not, I've to know you before judging if 
I like you. As for music labels I listen only to 

kinds of "punk deviances" so probably it still 
makes a sense... 

MRR: How did you get the idea of starting a 
record label? 

Paolo: I used to have a tape label that issued 
almost 40 different tapes. I guess that they were 
pretty ok, since everyone sold hundreds. The one 
that I love the most is a double tape compilation 
with over 30 different bands all in the grind vein 
whose benefits went to A.L.F. It was well done, 
with a booklet and it featured many "in" bands of 
that time. I was introduced to the vinyl world 
from a friend of mine who had a 7" out with his 
diy HC band (and now he's a judge) and he took 
me to the pressing plant to know some prices. I 
had to borrow some bucks from parents at that 
time cos I was 

just 1 8 and had no money. I started and I still have 
not finished. It was a natural thing, I could say an 
evolution. A zine, the tape label, the vinyl label. 
MRR: How's the cost for manufacturing a 7", 
LP & CD ? Also bands costs, studio, etc... 
Paolo: Usually a 7" has a cost of 1.25 $ after 
paying the pressing plant, the cover, the free 
copies to the band and some copies free for 
promo. A LP or CD i s around 3 $. I do not succeed 
in paying studio expenses to every band, unfortu- 

MRR: Usually there's a big difference be- 
tween CD and LP price. Since production 
costs are more or less the same, what do you 
think about their selling prices? Is it just a 
politics from the multinationals? 
Paolo: When I started, CDs were getting the first 
steps in the HC world and I remember being 

totally against the CD thing. In fact I just bought 
a CD player in 93. Now I listen mostly to CDs cos 
it's pretty simple to put it on and do your own 
business for an hour. Not to mention my record 
player really sucks bad. Would you figure a label 
owner that mostly does vinyl has a record player 
that works once a week??? 

What I can see is the increasing use of CD 
in the young scene (as the sXe..., which is not that 
young but do count on youngsters) and the vinyl 
still going ok in the punk scene. Not to mention 
that the 7" is still going well in every field. 
Probably this price politic started from the multi- 
nationals and the HC labels follow the prices 
trend. S.O.A. LP's and CD's have almost the 
same price. 

MRR: How you consider a record collector 
inside the punk movement while you listen to 
people spreading the word of anti consumer- 
ism and diy? 

Paolo: Once upon a time I was very enthusiastic 
about the whole collection thing. Now I just try to 
complete the collection of Italian records. How- 
ever I wouldn't pay 250 deutsche marks for a 
Deepwound 7", I think. All is pretty simple: being 
the HC/punk panorama very different, you've 
people yelling at me cos I release 6 records in a 
year, they spread the word of diy, and, maybe are 
the ones who spend 1 00 $ on an Indigesti/W retch- 
ed split 7". Who's in the right? It's a total different 
approach on HC/punk. Who's to blame ??? 
MRR: If I should say something bad about 
your label, it is the roughness of the layout of 
your releases. It's true your prices are so low 
and so must be your gain... But maybe you 

could spend a bit more on a sleeve or an inner 
full colors sheet and let the customer pay a bit 
more, or maybe the customer doesn't care and 
prefer the low price? 

Paolo: As far as I learnt in these years, for the kind 
of thing I produce, it doesn't matter how you 
make the cover or present the record. You can do 
it xeroxed or printed with gold and silver writ- 
ings, probably the result it' s the same. The prove- 
nience of the band can make the difference. My 
US releases didn't have a better cover than the 
Italians, but just for being US they sold 4 times 

Then I have this low price policy that really 
makes a sense for me. I can't sell records for that 

regarding gig structures, distribution, 
record shops? What's the difference 
between our, the European and the Ameri- 
can ones? 

Paolo:The Italian situation is pretty tragic. Usual- 
ly there's no place to play and the ones we have 
are not that good. Underground life is pretty 
active but I must say that the Italian scene is 
completely cut off the rest of civilized musical 
world. Foreign bands are no more touring here for 
lack of places and lackof bucks mostly. It's pretty 
complex to say... 

MRR: What you think about Italian bands? 
Paolo: 1 5 years ago we had the best bands around 
and now Italian bands get no recognition at all. I 

to arrive and go... 

MRR: I have the impression that US labels get 
the distribution through subsidiaries of some 
multinationals. And I really believe they snub 
foreign labels. Do they really dislike our mu- 
sic, or maybe they have already plenty of US 

Paolo: Probably all these reasons are true. What' s 
the deal of listening to some German bands that 
are just NY clones when you're American? Euro 
releases do not do well over there, but it's an 
European failure to mostly get passively inspired 
by US bands. Why should I listen to Italian youth 
crew if I'm from Boston or New Jersey? Well, 
probably they should try some Euro stuff if only 

"I do not see myself doing this at 35, cos I will be an 
asshole, jaded, depressed, I won't communicate to 
the youngsters, I really will hate the kids and the 
new things around...I think it's passion that fuels 
S.O.A, cause I hardly make a living off it" 

prices if I do expensive layouts. Not to mention 
that I really think that I had a progress in my 
records, lookwise. Probably if I should change 
for something it should be the quality of the 

MRR: It seems that here in Rome people do 
not have many bucks in their pockets, while if 
you go to the north kids are more willing to 
spend tons on records. How does this affect 
your activity? 

Paolo: In the north of Italy people have more to 
spend on records, not to mention that if you live 
in the north you can have more gigs around. 
Rome suffers from avarice, yes, it is to be said. 
Usually HC kids are, for the most, are around for 
a couple of years buying a couple of 7"s once and 
then... At the same time they probably listen to 
gabber and some more things. It's a city that 
offers many things and very few stop at a certain 
kind of music/lifestyle. Best thing for HC labels 
now is Belgium and obviously Germany. People 
that started step by step as me, now have shops 
and people working for them... What should I 
do?? Since I did not have the guts to move my ass 
from my scummy city I try to have a good mail- 

MRR: Once you tried to be part of a HC 
record store/label company. Except for the 
debts what's left from that experience ? Is 
there a possibility for a shop like that to sur- 
vive in Italy? 

Paolo: I did not have any debts, cos I was just the 
5% in this activity... Anyway I lost some 1 3000 $ 
in it, and I worked for 8 months without getting 
anything. The two guys who had the big slice of 
it put 1 50000 $ each and 5-6 years without getting 
a cent... It wasn't a proper HC/punk thing to be 
honest cos they also did some ska and other kinds 
of music. It did not work because above all they 
were not the right people probably. I went into 
this company when it was dying and I did not 
realize it. I should try the big step at that time cos 
many bad events happened around here and I had 
to start a serious thing. It did not work at all. Now 
there is a new shop with another guy with my help 
MRR: How do you see the Italian situation 

must say that Italian bands for the most part do not 
move their asses to have any contacts with the rest 
of the world, maybe with the exception of the sXe 
scene which is more "international", a network of 
so called friends... Some cool speedcore bands 
such as the Cripple Bastards are getting some 
recognition cos they really are in it, making 
friends worldwide, writing to people, to labels, 
etc etc, but most of Italian bands just play local- 
ly... We' ve some bands that are influenced by this 
and by that, but we've no more the Italian tradi- 
tion at all. I occasionally see some very good 
Italian bands, but I must admit that I do not travel 
as much as I used to years ago, so what I see more 
is the local situation. There's no interest in the 
new names, people prefer to buy the new Agath- 
ocles split or the new Morning Again album... 
Buying the single of the local band is a thing that 
not everyone does here... 
MRR: How do you work with the distribution 
of your records? 

Paolo: It's mostly a trade-thing with other labels. 
Big distro are not interested in my stuff and 
occasionally someone may take them on con- 
signment... It's pretty depressing. Once you 
didn't have this big bang of labels, people active 
in the scene were making the distribution of 
records, not putting out records. It seems that 
making records is the next big thing here. And 
now trading seems the only way to let records go 
around... In the USA you can put out records and 
giving them to someone who distribute them, not 

MRR : As for trading, how can you trust some- 
one that could be just a rip off? Do you always 
trust people ? And what about people, are they 
always trusting? Isit worse outside of Europe? 
Paolo: The main problem with trading is proba- 
bly the postal system which is pretty fucked up 
here, not the labels. Occasionally I get some 
troubles from rip-offs... People must trust me, cos 
a rip off couldn't do this for 1 years. I can be slow 
sometimes, not to mention that keeping in print 
50 titles is not that easy, but I really try to do my 
best. It's not a country thing. You can have the 
lazy guy in New Zealand or in Poland. USA 
trades are the worst cos it takes forever for parcels 

they found them around... 

About the multinational thing: I dunno 
exactly, cos I'm not American. But probably if 
you get big, multinationals have some interests in 
you. Then you decide what to do. I should have 
the chance to judge sincerely. 
MRR: Since the HC world is pretty huge, with 
who you find more comfortable in human 

Paolo: Pretty sad question because with the years 
I totally close myself as a shell and I really avoid 
any personal contacts with people. I dunno may- 
be it's due to becoming old... or maybe because 
when I wake up I see records and I see records 
when I go to sleep, I do not see the point of talking 
about records and shit to other people in the 
meantime. It's a strange question cos obviously 
there's not a precise kind of musical people that 
I find better than others. It depends on people not 
on music... 

I must admit the best friends can be related 
to 90/91 Italian youth crew, or at least the friend- 
ship that lasted for so long. "Commercially wise" 
what's going on the best here is grind/ultracore/ 
fast stuff in general, which is the stuff I really 
promoted from the very beginning. Italian bands 
are usually cool, maybe because it must be some 
honorable thing to be on such an historical label... 
ha ha ha... Foreign band can be usually enthusias- 
tic if they are not that known. Bigger bands do not 
spend a stamp for an answer generally. In fact I 
also stopped to write everywhere to bands that 
probably do not deserve. 
MRR: Do you think that it could be possible to 
make money from an activity at your level ?? 
Do you know people that succeed in it ? 
Paolo: Yes, I know people that make some earn- 
ings on it. It depends on your country, if it has a 
strong youth so called "alternative culture" you 
can go on... About my level, and not about Rev- 
elation, I still believe it's not a longstanding 
activity. I do not see myself doing this at 35, cos 
I will be an asshole jaded and depressed, I won't 
communicate to the youngsters, I really will hate 
the kids and the new things around... I think it's 
passion that fuels S.O.A. , cos I hardly make a 
living out of it. 

MRR: If I remember, ten years ago you 
thought that at 25 you'd have already quit 
for so long... 

Paolo: Ok, I'll properly answer the next MRR 
interview in ten years, in a cool article called 
"What's punk of yesterday are doing today???"... 
MRR: How do you work for letting people 
know about your records? 
Paolo: Some ads around on cool zines and tons of 
flyer. Italy wise I think I'm pretty dead cos there's 
no specialized press about what I do. 
MRR: Should a record need more promotion 
as biography, photo sessions, more ads, free 
records, paying some musical reviewers- 
Paolo: I do not think it's necessary when you 
press 1000 copies of a 7". Moreover I do not have 
that many bucks to invest on this shit. I'd proba- 
bly do it, but I guess if I have some spare bucks I'd 
do another 7" instead of making some disgusting 
free photos... If you look at the roughness when I 
started, I guess is a big step ahead that now I did 
some posters, stickers, cool layouts, decent 
record sleeves etc etc, so what I should I do more? 
MRR: Do you think that well distributed zines 
as MRR, HeartattaCk, Profane Existence 
could be a good information vehicle to know 
what's happening around? In which way? 
What's about the Italian situation? Don't you 
think that they reflect that much an "Ameri- 
can way" conditioning our culture a bit? Don't 
we need something similar but at a European 
level or maybe here in Italy, or it could close us 
in the ghetto? 

Paolo: I do not think that MRR can affect that 
much our "scene". I mean that I really care about 
the MRR review of a S.O.A. release, cos you 
know, I' ve been reading it for so long and it made 
me know so many cool things... but those 100 
copies sold in Italy can't be a big impact. More- 
over I really think the youngsters don't know 
what MRR is. Same for other papers. A good 
review can be useful for other countries, just to be 
a bit more known, or let occasional customer 
know that there's out another cool record. Local 
press can affect very much the local musical 
panorama, but as I said before being the local 
press non HC exposing... It doesn't matter to me 
if the latest trend is Hellacopters. And of course 
the local press try to pump up the latest US and 
maybe UK "in" things, obviously not Cracked 
Cop Skulls or Ten Yard Fight. 
MRR: How you could describe the concept of 
"scene"? Do you think you've some duty to- 
ward the "scene"? 

Paolo: Hmmm, damn hard matter here. What is 
the "scene" ??? Heresy said it's a network of 
friends and probably it's right, speaking about the 
HC one. I guess it had a big place in my heart 
sometime ago. Probably when you grow and you 
find yourself in a middle of "6 years less than 
you" guys, yes, you still keep on doing gigs, 
distro, zines etc etc, but the concept of "scene" 
probably lose his value. I do not know if it's a 

youth thing cos I'm still here and I'm losing my 
youth on the road... At the same time I could 
wonder where are all those others that started 
with me and were bond to the crew, to the scene, 
loyal to the grave and so on... 
MRR: What were the main obstacles you 
found during these years of S.O.A. ? 
Paolo: Financial problems of course. I still have 
obviously and I do not wanna ask money to 
anyone. Anger when someone that should be on 
my side criticize my activity fancying that I hit 
the road with my Ferrari... At some point I also 
thought of quitting, but it's a thing that 1 really 
love even if I must say you don't get many 

MRR: An activity in HC lasted for 10 years... 
do you wanna make a point about it? How do 
you judge what you did until now? What's 
make you proud and what make you 

Paolo: I do not think of being proud of a certain 
thing as well as being ashamed. I could be happy 
of lasting so long and being a little brick of HC 
history if it will be one. I must be proud of 10 
years of activity . I can't judge sincerely all these 
years... Probably I've been pretty naive some- 
times... letting things go along, doing them with- 
out a particular effort sometime. 
If I knew the local situation before probably I 
moved somewhere else! 
MRR: At the beginning there was grindcore 
and straight edge 88, them emo came, Ebulli- 
tion, the vegan metal straight edge all together 
with others sub-labels. Some have got some 
luck, others didn't, some new will arrive and 
some others will disappear. What's the influ- 
ence of these matters on your activity? And 
then, if the music you like disappears , will you 
continue to put out records anyway in order to 
pay home bills? Or maybe you thing that 
there'll be always some music you like ? 
Paolo: Until now I did not have any problems 
having the music I like on my label. It was one of 
my fear ten years ago, but I lived the 88 revival 
and today HC bands sounds something like 
•Creator in 87. Not to mention that a Power 
Violence bands are like Terrorizer on acid... It's 
a circle... 

I do not see me making techno records or 
pop. Probably because I was always used to do 
what I liked the most. So I really have no clue 
about what to do after the passion is gone or HC 
will be no more. My wet dream was, and probably 
still is, to open a vegan bar or restaurant, a so 
damn hard thing here cos it's a mess legally, 
financially etc... 

MRR: What's vour future projects for 

Paolo: In this year and half I've put out some 15 
different titles. I think I'd like to make the point 
of the situation and spread the records in a proper 
way. Making 15 records is cool but being the 
thing based mostly on trade it's not that simple to 

get rid of all those records. I'd like the bands to be 
happy of what I'm trying to do. Anyway I've 
some foreign name in the cylinder which are 
Dudinan, Konstrukt, Motorsaegenservice again. 
hopefully Insane in the Brain... I guess S.O.A. 
will be at 53 of catalogue for June. I'm doing a 
printed zine here in Italian, since HC has no 
exposure I'm trying to spread it as the best I can. 
It's called Manowar as a tribute to the metal days. 
I'd like to play more outside with my bands. I've 
been roadieing quite a lot with some other bands, 
but my own bands didn't get things together that 
much, maybe for the exception of Comrades who 
went 1 week with Drop Dead. 
MRR: What's more in your life beside the 
label ?? 

Paolo: I live alone with my girlfriend, which is an 
activity that most of Italians at 26 can't under- 
stand. 1 think I'm a homeboy. I really love to be 
on my own with no many people around. Home 
is taking lots of time cos it must be clean and 
prepared junk food sucks bad. Rome it's pretty 
stressing city so I try not to move that much in 
order to avoid heartattack. What I really like is 
going away to eat. Yeah, eating it's such a great 
passion. Being sXe and antisocial I really dislike 
hanging at pub and recently I'm getting mad at 
going to gigs... The two bands I have do not 
require too much time, but I really love playing 
with them. Especially live. 
I guess most of my day roles around the label 

MRR: What you think about pasta cooked 
outside Italy and here in local squats ? 
Paolo: 1 guess the question is due to the vegan 
book on my website... Foreigners usually really 
do not know how to cook a real pasta and incred- 
ibly love the shit they prepare. In the squats it's 
the norm to serve a depressive dish of horrible 
pasta to touring bands that should need some 
fresh stuff instead, more healthy, instead. They 
really have no respect usually, or simply they do 
not think about it. Sometime you find some other 
squats as the almighty El Paso where you can eat 
pasta, a second dish if you eat meat and also 
vegetables... I think most foreign punk bands 
know about it. 

MRR: Is it true that you wanna quit and 
become a priest ??? 

Paolo: Why???Girlsloveme... I'dratherbecome 
a rabbi, maybe... 

MRR: After all these questions do you need to 
add something more ? 

Paolo: I guess I should say thanx to a bunch of 
friends who always helped me making the gfx of 
the records for free, selling the records, reviewing 
them, helping me with some advises. Probably 
this is the network of friends I was talking about... 
and of course thanx to Massimo lor the interest 
and to MRR. 

"I must be proud of certain things, for 
lasting so long, ten years and for being 
a little brick of HC history." 

. . fioht starting, s treet 


T* . -GEORGE* 1 "' 

^ » 



< ■* 



produced by-Marky Ramone 1999 RELEASE S8.S0PPD 



Boston's orig. '77 punk band's 

1 release in over 10 years!!! 

7" On white vinyl. 
LTD. Edition 1000 copies. 

$5 ppd. U.S. $6 world 
Send money order to: 


PO Box 46073 
Mt. Clemens, MI 48046 


A fresh crop of South Bay bands 
pay tribute to the pioneers of Ihis 
Southern California scene, 18 
bonds and 22 trox featuring: 
Deviates, F.Y.P., Mike Watt and 
F.t.P tpvsring Black Flag, Circle 
Jerks, Descendents, Miriutemen 
and more! 

This Costo Meso supergroup 

blend Rombnes style 

guitars with Dickies Ijke 

anthems and vocals (hot 

will remind you of Rodnfy 

On The Itoq circa 1978. 

From the Ashes of Out Of Order on 
Theologian Records comes this debut 
disc that is reminescenl of early Clash 
and Op. Ivy. Produced by Dorian and 
Fletcher (Pennywise) of Stall #2. 

If you like it fierce and fast without 
compromising quality then check 
out this Irio. 

This oil girl 4 piece puts the punk 
back in rock! Not for those without 
a sense of humor or bolls! .■■;.: 

SnnMr Ifler SwSsm 

Troditonol rock steady with o tip of Ihe 
hot to the British Ads who recorded for 
the legendary Trojan label. 

Raw Power Records is exclusively distributed by Smash! Distribution Co., Inc. 1636 W. 1 39tb Street, Gardeno, CA 90249 
(310) 352-3055 • Fax (310) 352-4209 • www.smashdisCcom/rawpower 

Ska pioneers in their own right, these 
guys hove a sound (hot reminds us of 
The English Bent and Bad Manners, 
look for o new LP on SRH Records. 


"Oi Maamme Suomi" LP(ltd) / CD out now 

■'■■a; : : 






US$ 16 / DM 26 / UK£ 10 / FIM 80 / YEN 2000 

air ppd each (cash [no. coins] / post office IMO) 


All Prion Airmail PPD Everywhere 

& Fucking Eatt Same Day SaulfiS.TRY U6IIIIIIHH 

CASH / IJUI.O.Itrom poetoffioel / CHEQUE (add «1Q 

•' ■ for lank ch.raa.1 

EPPU NORMAAU Aknepoo CD (1978 firm punk rarity) $20 

QRIfflN:R«aldeal CD (Japan Oil gods rara stuff I) $20 

RUPTURE Ai;su«ia Day CD (Raw punk weirdos) 920 

UNNATURAL AXE XIok Yar A.. LP/CD (Boston legend) $20 each 

ATT1LA THE STOCKBROKER iShoraham LP (#d/333.col.wax) $20 

ONE WAY SYSTEM Not Yar Enamy 7" (Greet new punket) $6 

TERVEET KADETrPronananda CD (Rare 82-84.36-songa) $18 

VICIOUS WANKERS 2B song CD (Ultra Chaoapunk Smasher) $ 1 2 

LUOMAKUNTA :Hy»ri CD (Great melodic ftnn punk) $ 1 2 

KUOLEMA :Noiaa Not Musio CD (36 song 83 HC killer) $12 

TERVEET KAPET iSian Of The Cross CD (taw aa hall ) $ IS 

TERVEET KADET Rnhbnr & Blood CD (26-aong smasher) $16 

TERVEET KADET :Doomad Mian Race CD (brand nawll) $16 

DOOMiVideodoom VIDEO (VHS ntsc CRUST) $26 

BA3TARDS:Maailma Polaa CD (83 HC Killer) $16 

THE DRONES Sorted 7' (UK 77 Punks great oomebaok) $6 




aeed songs,brilliant beat (inn killer Punkrook/HC) CD $10 

MASSKONTROLL :Will You Ever Learn? CD (US Crust) $16 

DRONES:Take Shelter LP/CD (UK 77 Classiclll) $16 each 

PELLE rVrlLJOONA & NUS :1 CD (1st Ann Punk albumlll) $20 

ASOCIAL Total Asocial CD (Cult Swede Cruet) $16 

AVSKUW rRecrucified CD (Cult Swede Crust) $16 

RATQ8 DE PORAO .Ceda Dias CD (Cult Brez HC) $16 

CRIPPLE BASTARDS Your Lies CD (76 songs) $16 


PISFLBSCH .Hear NotNng New EP (Ultra CRUSTIII) $6 

EPAJARJESTYS :9-sonn EP (Ultra Cruet.#d/600) $6 

IRSTAS iUnluok LP (Raw new Ctuet.600 only 1 1 1) $12 

RUPTURE :Fuokumentarv VIDEO (VHS ntsc Cruet) $26 

CRIPPLE BASTARDS/I BF 1 1 -song EP (Aaarrgghhh) $6 

ROT Intense Noise Core CD (Jap HC Gods.Rare) $16 

OtMOBER/DOWNWARO SPIRAL Split EP (Swede Cruet) $6 

BLOODSTAINS ACROSS WORLD Comp LP (rare 77-82) $20 

FEAR OF OOO SIauahter EP (Ultra Aaarrgghhlll) 96 

ANTI-NOWHERC LEAOUE Scum LP/CD (Great Punkl) $16 aa 

SCUM NOISE rChaotJo CD (Raw & rare Brazil Cruet) $16 

APPENPtX rDiaonosIs 82/83 CD (Rare Finn Cult HC) $16 

PETER > TEST TUBE BABIES :8upermoaals EP (UK punk) $6 

Our new 24-page catelogue includes 

about 2.000 Punk, HC,OI!,Cru»t, Grind, Mod etc 

release* absolutely something for every punkerllll! 

juet send $2 cash / 3 x IRC (or free w/ order < *10) 

Labels & Bands send samples w/ terms. 

Dletrlbutors & Stores get in to uch for wholesale 


We re also specialist of old PUNK/HC and have 

classic rarities a la; 



MEATY BUY8.SOS.DESTROY etc so Collectors wake udIIHI 


P.O. BOX 174 



tel ++358 40 5481267 

fax ++358 19 721328 



ISSUE #8 $4 ppd. 

Death to False Metal Vol 

19 more punk bands cov- 
ering metal classics from 
the '80's. Bands include 
The Loudmouths, 
Migraines, The Bulemics, 
The Buckweeds, Mars 
Moles, Reina Aveja, 
Poison Iwy, Artimus Pyle, 
Quadiliacha, Ringwurm, 
Hyper Chvett (Schlong 
members), Tres Kids, 50 Million. The New Wave 
Hookers and more. $8 ppd 

"If you don't already have (Death to False Metal Vol 
1) then you aren't very smart In other words, you 
should buy all the Probe Record releases because 
Aaron has not put out a dud yet.'' 

- Carl Bvers QU1CKDUMMIES #12 
All Probe releases are available through 
Subterranean, Choke, Surefire, Scratch, 
Lumberjack, Vital Music, No Idea, 
and Flight 13 in Europe. 

Mail-order turn around is less than a week! 


Yeah, you still get a photo of Tracy when you 
buy something. In fact, we just finished shoot- 
ing an entire two hour video so send $25 for 
that. Hey, that's cheap! Ass is expensive! Not 
to mention that selling Tracy's ass may be the 
only thing that keeps The Probe from going 
under. Praise be to Tracy's ass! 

Checks payable to Aaron Muentz 



► P.O. Box 5068 
Pleasanton, CA 94566 



"Fucked Up Mess" LP/CD 
You know the drill- 
speed, distortion, chaos. 


"Out Of Suit" 7" EP 

7 song debut from Tokyo. Old Bad Brains 
meets modern Tokyo speed and insanity. 
More fucking energy than a fucking 
nuclear power-plant. 


"Making Craters Where Buildings 
'Stood" 7" EP 
1 7 new hectic jolts - amazing destruction. 

More devestating than Y2K. 


"Bring Our Curses Home" LP/CD 
1 2 tracks of severely crushing HC from Ml. 
CD has all the EP tracks, over 70 minutes! 


"Maktmissbrukare" LP/CD 
26 songs of raging Swedish HC thrash. 
Think MOB 47 overdosing on speed. 
CO includes the "Terroristattack" EP. 


BE WORSE 4x7 EP box set 

$11 U.S."$13CanJMex/ World surface 
$ 1 6 Europe/ W. Hem." $ 1 8 Asia/Aus 
4 split EP's wf Flash Gordon, Capitalist Casualties, 
Nice View, Hellnation, Span, Fuck On The Beach, 
Real Regae, & Charles Bronson U.S. & Japan HC 
thrashers team up again. First edition in box & on 
colored vinyl 

PRICES (including postage): 7"EP 
USA $3.50 





world (sufacel/Canada & Mexico (air) $4 




Europe(air)/W. Hemisphere (air) $5 




Asia/Australia (air) $6 





DISCLOSE "Nightmare Or Reality" LP $ 1 1 

!y tar the best Disclose yet, punishing raw d beat thrash 


'rotess has a heavy Antischistn influence, NP Irish punk thrash 

tf/A TOYAMA CITY HC CD $1 K^ur^t. !*»&.«. 

VCR prices ppd. in USA, •ndF.T.D. 

ric ■ Canada. Mexico, world surf, add $ 1, Europe & S. America add S2, Aus. add S3 

12" • Canada. Mexico, world surf, add S2, Europe & S. America add S5, Aus. add $7 

send a stamp for a complete list of available titles & info. 

overseas send $ lor 2 IRC's 

no checks! use a money order 


P.O.Box 17742/Covington,KY.41017/USA 


^Fanzine Reviews" 


Reviews by: (AR) Aragorn, (LB) Lily Boe, (BC) Brianna Chesser, (KC) 
Karoline Collins, (JO Jeremy Cool, (MD) Mikel Delgado, (RD) Raphael 
DiDonato, (NF) Neale Fishback, (GF) Gardner Fusuhara, (HH) Harald 
Hartmann, (MJ) Mary Jane, (KC) Karoline Collins, (AM) Allan McNaugh- 
ton, (JM) Jeff Mason, (JL) Jennifer L. Mushnick, (CR) Casey Ress, (DS) 
Denise Scilingo, (SS) Sean Sullivan. 

Please send your zine in for review. Write down any 
information you want included in the review; method of 
printing, number of pages, issue number and post paid 
price. If you want us to include a foreign post paid 
price, tell us. If you accept trades, tell us. The only 
information we will include is what you provide us. It's 

Very Simple. Hoy! Count tho pogoa! You count th» pago.! Not u*. you! 

Specific criticisms aside, it should be understood that 
any independent release deserves credit for all the time 
and money going into it. 

DEATH #1 5 / $3 ppd, $4 Canada/ 
Mexico, $5 world 
5 1/2x81/2- offset - 60 pgs 
I was pretty amused when I got this 
to review because I had just mail 
ordered it and received it recently 
myself. Pretty similar to Zine World 
(see review for ARGttUP) but not 
quite as large. There is an interest- 
ing article about zines and prison- 
ers, a whole lot of zine reviews and 
info for zine folk. (DS) 
PO Box 91 934 / Santa Barbara, CA 

ATR #2 / $1 ppd 

5 1/2x81/2- offset - 64 pgs 
While not as good as issue one 
(there just isn't as much content in 
this one) this is still one of the best 
theory zines going. The story about 
(Eric?) getting gay bashed is truly 
moving and while parts of this could 
have used some serious editing (the 
conversation between Kim and Eric 
is way too long), I was still really 
inspired by the level of sincerity and 
hardwork that permeates this zine. 

1 1 8 Raritan Ave / Highland Park, NJ 



5 1/2x81/2- copied - 30 pgs 
Standard music zine format here. 
Letters to the editor, reviews, ads 
and interviews with The Sinisters, 
Muteants, Bulemics, Rev Norb, The 
Randumbs and a few more. There's 
also a trivia contest that's impossi- 

ble (for me at least). Not bad. (NF) 
PO Box 14371 / Portland OR 97293 


stamps or trade 
5 1/2x8 -copied - 32 pgs 
One-draft-only personal zine; 
beer, shows, some comics, a 
little social commentary, Port- 
land, etc. (Almost) all type- 
written; pasted kinda sloppy. 
Is it bad when jock-types call 
the outcasts fags, but not 
when you call yuppies that? I 
think if I was 20 instead of 27, 
I'd be more into this, but the 
asking price seems fair. (JM) 
PO Box 40001 / Portland, 
OR 97240 


MIX#6/2stampsor$1 ppd 
5 1/2x8 -copied- 22 pgs 
Afewweeks out of the editor's life laid 
down for us. Yeah, if you are prone to 
depression, swilling coffee and beer 
will fuck you up. (That thing about the 
sugar in alcohol is true.) I thought the 
writing straddled the line between clev- 
er and trying too hard. Sean writes 
about stuff like his job, partying and 
which girl does he like. I liked the map 
of his town. He just moved out on his 
own, so if it sounds like you might 
relate, invest the 2 stamps. (JM) 
1 39 N Main St / Ambler, PA 1 9002 

BURN COLLECTOR #10/$1 ppd 

5 1/2x81/2- copied - 36 pgs 
First off, I really do like Al's writing, 
he's got a definite skill, one that he 
uses well in his two short stories here, 

but this issue crosses the blurry line 
between a fanzine and an indepen- 
dent press publication. This zine 
has absolutely nothing to do with 
punk, uses none 
of the standard 
devices used by 
fanzines, (ie, cut 
and paste, DIY 
graphics, etc.), 
and reads more 
like a creative writ- 
ing journal then a 
zine. The shift that 
began with 

Cometbus has 
brought us to 
"zines" like Burn 
Collector. I make 
whether this is a 
bad or a good 
thing, but it is an 
interesting trend to see in the little 
world of zines. Having said that, 
whatever this is, it really is fantas- 
tic — just not really a zine, if you ask 
me. (CR) 

Stickfigure / PO Box 55462 /Atlan- 
ta, GA 30308 


ppd or trade 

11 x 17 - copied - 18 pgs 
This is a really good anarcho-punk 
zine out of Sweden. The four arti- 
cles were well-written pieces on 
censorship of pornography, espe- 
cially in comics, Cuba and Che Gue- 
vara, the Beatles sucking and cops 
sucking. While this is far from virgin 
territory, all contained information I 

hadn't already read, and I read a fuck 
of a lot. The next issue promises 
hardcore reviews and interviews, 
and if they are half as well thought 
out and researched as the articles 
in #1 , they should be worth read- 
ing. Buy this (even though capital- 
ism sucks)! (BC) 
Karl Backman / Perjansvagen 1 / 
903 55 Umea / Sweden 

CHUMPIRE #119 / 55C in 
stamps or trade 
5 1/2x81/2- copied - 1 6 pgs 
Read about Greg's trip to Argenti- 
na. I did, and it was great! I don't 
think I've ever read much about 
Argentina, and if you like Greg's 
writing, you're in for a treat — 16 
pages this time! What kind of one 
pager is that?! (GF) 
PO Box 680 / Conneaut Lake, PA 



5 1/2x81/2- copied - 28 pgs 
Cool personal zine with a slant on 
politics in every day life. There's a 
lot on the gentrification of the Rich- " 
mond area, reminding me of what's 
going on in many other parts of the 
country, including our fair city of San 
Francisco. Be warned, Richmond, it 
only gets worse. There's also a piece 
that's an analysis of the mistreat- 
ment of prostitutes, and the editor's 
job history. It's rounded out by a 
critical mass story. Cool stuff. (MD) 
PO Box 5021 / Richmond, VA 

DEVOLUTION one stamp 
5 1/2x8 1/2 -copied- 16 pgs 
OK, I got this zine, took one look at 
the coverwith the mohawked punks 
kissing on the cover, and got ready 
to be disappointed. But, ah-ha, this 
turned out to be a real decent fan- 
zine. Reflections on public transpor- 
tation, the history of the New Jersey 
punk scene since 1995, a crappy 
job, failed relationships, and reviews 
of live shows. The only downfall is 
the ridiculously small type. I thought 
about enlarging it on a copier, but 
instead just pulled it so close to my 
face that I got paper cuts on my 
eyeballs (ow). Fora stamp, it's worth 
it. (CR) 

950 Main St Box 1 1881 / Worces- 
ter, MA 01610-1477 


1 1 x 8 - offset - 44 pgs - French 

Always one of my favorite French zines, 

jFanzine Reviews! - 

this zine has that snot nosed 77 atti- 
tude. There is an interview with The 
Dum Dum Boys, an in-depth article on 
Mr. Rhythm, Andre Williams, another 
article on the Dictators plus really cool 
reviews and lots of gossip. (HH) 
32 rue Pharaon / 31000 Toulouse / 

DOLL #146 

7x101/2- offset - 1 70 pgs - Japa- 
The current issue of this ultra-com- 

posed Japanese fan eztravaganzine 
showcases the Misfits, Cap. Ca- 
sualties, the Boys, Lunachicks, 
Gyogun Rend's and heaps of oth- 
er bands, with additional translat- 
ed interviews from MRR. One nice 
touch is to cram nearly all the ads 
at the rear, so they don't inerfere 
with the the carefully laid content. 
Huge, professional, exhaustive 
punk coverage. (AC) 
Koenji Minami 3 / Japan 

ENGINE #5 / $3 ppd 

8 1/2x11- offset - 64 pgs 
I thought this guy seemed famil- 
iar, then I realized that it's MRR's 
ex-own Matt Average! I never got 
to meet him, and I regret it now, 
because this zine makes him seem 
ike such a sincere and intelligent 
person. I really don't know how to 
express how well written and per- 
fectly laid out this is, so I'll supply 
the facts: it falls more to the hard- 

Icore side of things, and has lengthy 
interviews that get really in depth 
with Los Crudos, Spazz, Devoid 
of Faith, Opstand, Scatha, and a 
hell of a lot more. I just can't wait 
to get the time to be able to sit down 
and read every single column and 
interview... (RD) 

PO Box 64666 / Los Angeles, CA 

EPI LOGUE#1 /$1 ppd 

7x81/2- copied - 24 pgs 
If you want to read more about the 
end of Epicenter, this is what you 
need. I really don't know how peo- 
ple not here feel about this, but 
since I know Gordon, and knew 
about epicenter, I was intrigued. 
This has some fun little memoribilia, 
as well as Gordon's take on "what 
went wrong " , something well worth 
looking at, if only to further our 
knowledge of; what is this scene 
about? What are we trying to do? 
Some smart takes on the politics of 
scene politics. (GF) 
740A 14th St #207 / San Fran- 
cisco, CA94114 

FIXATION #3 / $1 ppd 

5 1/2x8 1/2 -copied -24 pgs 
This zine hails from Albany, NY and 
features entertaining articles on a 
variety of topics like scoliosis, first 
hand accounts of the Columbine 
High massacre, being out as a lesbi- 

an at sixteen, commentary on the 
1950s, personal tidbits, and a story 
by Aaron Cometbus. It also includes 
reviews and band pictures. An inter- 
esting, readable zine. Thumbs up. 

80 Boylston St / Room T91 1 Box 
316 /Boston, MA 021 16 

8 1/2x11- offset - fat pages bro 
I haven't picked Flipside up in a 
while, but I'll be checking it out 
more often from now on. This is- 
sue rules - every time I flip it open 
I land on another cool article that 
I'd missed. Interviews with the 
Loudmouths, Raw Power, pho- 
tographer Justice Howard, Daniel 
Johnston, Davie Allan, and Rican- 
struction among others, as well as 
some great columns, including Re- 
todded on major labels and one on 
the Big Boys, with which I agree 
wholeheartedly. Not to mention Nar- 
duar vs. Rob Zombie, and a wealth 
of well-informed reviews. (AM) 
PO Box 60790 / Pasadena, CA 

FLYING LESSON #3 / $1 ppd 

5 1/2x5- copied- 52 pgs 
Good small personal zine with sto- 
ries oh travel, loneliness, and other 
subjects that mark the life of young 
punks. I like the way that there is no 
real separation between subjects, 
and that the theme is loose and 
fluid. Cool layout, too. Definitely 
one of the more interesting zines 
I've gotten in a while. (CR) 
PO Box 954 / Bloomington, IN 

FOOD GEEK #1 / $1 ppd 

4 1/4x51/2- copied - 20 pgs 
Oh my. I love this 'zine. A little 
pocket sized gem chock full of sto- 
ries & artwork about (you guessed 
it!) FOOD! 'Ode to an Aging Stove' 
recounts the author's love for a 
1950's electric range that "oozed 
the confidence of a '57 Chevy and 
with just as much chrome." Reci- 
pes for pico de gallo, tofu spam, 
and charred papertowels will tempt 
yourtastebuds...and put a smile on 
your face! Throw in a pinch of 'zine 
reviews (food related, of course), a 
dash of 'Dream Food Dates', a cup 
of chili warnings, a splash of 'Food in 
Japanese Music' and you've got 

yourself a mighty tasty read. Get yours 

today! (KC) 

PO Box 481051 / Los Angeles, CA 


^Fanzine Reviews^ 

FSHUT STONCA #6 / $3 ppd 

8 x 6 - offset - 64 pgs - Polish 
This small, but tightly put together zine 
concentrates solely on the Polish 
scene. There are interviews with Ru- 
mor, Tomahawk and other not so fa- 
mous Polish bands. There is also an 
article on the environment plus record 
reviews and ads. This looks like a 
great place for those interested to 
check out the scene in Poland. (HH) 
Rafat Grodzicki / Skoneczna 79 / 
38200 Jasko / Poland 


/ free 

8 1/2x11 - offset - 4 pgs 

For being more of a newsletter this is 

a pretty nice looking product. It is "old 

school " punk rock. It goes so far as 
to thank Felix for staying true to the 
faith... But the best part is a great 
listing of the best records of the 
nineties. Brief but quality. (AR) 

9 Fenwick Rd / Whippany, NJ 


GRINNER #7 / 25p + SASE 
England, $2 ppd other or trade 
5 1/2x81/2- copied - 24 pgs 
I can't remember if there was 
ever a serious side to this zine 
(doubtful), but it's just pure loon- 
iness now. If you want a whirlwind 
ride through the minds of some 
very silly Brits in a goofy hand- 
written style with tangents that 
lead nowhere, then how could 
you do better than Grinnerl Well 

you can't, mate. (GF) 

75 Winsover Rd / Spalding / Lines 

/ PE1 1 1EQ/ England 

HAND OF DOOM #1 / stamp (or 

8 1/2x51/2- copied - 1 8 pgs 
One half is this guy's radio playlist, 
and the other half is reviews. The 
editor kinda refuses to deal with 
anything outside of the black metal/ 
gore/grind realm, and he wins points 
for quoting " Fast Times At Ridge- 
mont High." 

PO Box 14157 / Cleveland, OH 



$2 ppd 

5 1/2x81/2- offset - 36 pgs 
I have to say that this is one of the 
most interesting zines I have read 
in a while. The subtitle of this zine 
is "A zine about surviving expo- 
sure to the mainstream", and its 
focus is on writers/zine editors 
who interact with the mainstream 
publishing or corporate world. 
These days people in the under- 
ground are so easily branded as 
"sell-outs", so it is nice to hear 
their side of what happens in their 
mainstream world dealings. I think 
a lot what is in this zine would 
surprise people who so easily 
judge. It includes an interview with 
one of my favorite people, Paul 
Lukas of Beer Frame, a story about 
the editor's own book deal and a 
frightening article about Barbara 
from Plotz meeting with a newspa- 
per reporter. The zine is also on a 

web site which I didn't get to check 
out. (DS) 
10 Trellanock Ave / Toronto, Ont, 
M1C5B5/ Canada 

I CAN'T BELIEVE #4 / $2 ppd 

8 1/2x11 - offset - 48 pgs 
I enjoyed the visual layout of this 
zine and its pictures. There is music- 
related stuff like interviews with 
Sunny Day Real Estate, The Locust, 
Samuel, Very Secretary, and Cross 
my Heart, plus record/CD reviews. 
Non music stuff includes an article 
about hating everyone, economic 
sanctions in Iraq, feminism, vegan- 
ism, and Baltimore Food Not Bombs. 
A lot of the articles and opinions are 
the standard coverage of the same 
old issues and causes but this zine is 
obviously put together with a lot of 
care and thoughtfulness. I was really 
impressed with the effort put into 
creating this. A good read. (JL) 
PO Box 4501 / Highland Park, NJ 

IMPACT PRESS #22 / $2 ppd 

8 1/2x11 - offset - 48 pgs 
This is free in central Florida, and if 
you're picking it up there, it's pretty 
good. The highlight was the piece on 
corporate/government plans to in- 
sure American businesses best 
poised to strip mine the moon, Mars, 
etc. There's a number of similar 
style lefty articles in here, most of 
which are kind of superficially tack- 
led. Well, what do you expect when 
this is published bimonthly and ev- 
erything is cross referenced to a 
web page? I also liked the attacks on 
ever get enough) and the piece on 
Iraqi sanctions. Still, this kind of 
gives me the creeps, the same way 
melodic, say-nothing "punk" bands 
playing $1 2 all ages shows do - it's 
more like a gentle nudge than a kick 
in the ass. I guess if you're stuck in 
Orlando... (JM) 

PMB 361 / 1 01 51 University Blvd / 
Orlando, FL32817 

THE INNER SWINE vol. 5. #3 / 
$2 or trade 

5 1/2x8- copied - 64 pgs 
I found the most telling line in this 
densely-packed publication to be the 
editor's comment as to how he'd 
sent out nearly 500 fiction submis- 
sions and been accepted seven 

times. If you're looking for a jaded, 
opinionated, aiming-for-humorlit-mag, 
put together by a Jersey City drunk- 
ard, this is it. It reminded me of QECE, 
except thematically it's all " I hate these 
people... these people are stupid... I 
got drunk..." etc. A play, poetry and 
essays. I guess this is kinda good cuz 
usually I really hate things like this, but 
I thought this was tolerable. (JM) 
293 Griffith St #9 / Jersey City, NJ 

INSIDE FRONT #1 2 / $4 ppd 

8 1/2x11 - offset - 1 36 pgs 
It's official, I live under a rock. That's 
the only way that I could have missed 
a zine this good for eleven issues. The 
kids at Crimethinc are putting out an 
amazingly insightful political zine that 
still manages to cover music. And 
when I say cover politics I don't just 
mean "free Mumia, support Chiapas 
etc etc" I mean helping kids develop 
the skills and knowledge history they 
need to think about these issues on 
their own. This is the best zine I've 
gotten for review in recent memory, 
and the fact that it comes with an 
Umlaut 6 " is all the more reason to get 
it. Buy this today. (SS) 

fStiut siONCa 

jFanzine Reviews] ^ 




sicdcm goda'n siiu 

^i hoZo faai stefana 

nSUiiki O d werSZC rozniaSlr 
]' c3n WnisJi USta S}'racha 

recenZje wiykiity reiacje 
mjaslo V spa/o 

2695 Rangewood Dr / Atlanta, GA 

THE WILD YEARS #19 / 55$ 

5 1/2x11 1/2 - copied - 40 pgs 
A collection of comic strips that detail 
the ongoing "adventures" of, near as 
I can tell, a robot butt and a monkey. 
Another comic in the "it's-funny-if-it 
doesn't-make-any-sense" category. 

While I may not have thought it was 
all that great, someone else might 
find it mildly amusing, maybe. (CR) 
PO Box 791 / Berkeley, CA 94701 

JERSEY BEAT #65 / $3 ppd 

8 1/2x11 - offset - 1 32 pgs 
This zine revolves around music and 
it's filled with reviews and inter- 
views with Indecision, Shades Apart, 
Bouncing Souls, Inspector 7, Lill- 
ingtons, and Teen Idols. Also there 
is an article about the dementia of 
the Warped Tour and why it's bad 
news, the W.E. Fest, the South by 
Southwest Conference, how Rad- 
ish survived the music industry, and 
a Jersey ska report. I was prepared 
to dislike the zine after a really lame 

about The 
Offs' tour 
diary where 
they played 
shows at 
nudie bars 
and made 
all sorts of 
really gross 
about jerk- 
ing off and 
but I thought the rest of the zine was 
packed with information and put to- 
getherwell. Lots of music and scene 
info, lots of reviews, lots of pictures 
of men with shaved heads playing 
music, you get the picture. (JL) 
418 Gregory Ave / Weehawken, 
NJ 07087 

K, L, OR M #1 / stamp or trade 
8 1/2x11 -copied - 2 pgs 
This is basically some random 
thoughts and copied photos from a 
fifteen year old kid with the same zip 
code as me. He seems pretty cool, 
especially considering he lives in a 
lame-ass neighborhood. His phone 
number is included, and my friend 
and I called him, but he never called 
us back. We felt like losers. So 
write, don't call. (BO 
1 1 8 Granville Way / San Francisco, 

MANTIS #4 / US 2 stamps, other 

4 1/2x51/2- copied - 55 pgs 
Cute little zine about daily life in 

Ohio. Nothing terribly deep, but I 
enjoyed reading about these two 
people and what they think/do. 
Those kids. optimistic! (GF) 
38227 Wilson Ave / Willoughby, 
OH 44094-7826 


/ free 

8 1/2 x 14 -copied - 2 pgs 
This is a newsletter. It also clearly 
comes from the mind of a mad- 
man. The font is so small that the 
text and the smudges all blend 
together. It doesn't matterthough. 
This is show reviews, record re- 
views and a smarmy attitude. (AR) 
PO Box 18051 / Fairfield, OH 

NOSEBLEED #19/ $2 ppd 
8 1/2x11 - copied -31 pgs 
I've noticed that plenty of zines 
out there put together shitty in- 
terviews with popular bands 'and 
plop their names on the cover so 
the retards buy em. But here, the 
interviews with the US Bombs and 
Dropkick Murphys are outstanding. 
Very rare now-a-days. Aside from 
that, there's the normal reviews, 
news, a few rants and a couple more 
interviews. Overall, betterthan most. 
55 Fonten-oi St Phibsboro / Dublin 

7 / Ireland 01 8302956 

OX FANZINE #35 / 6.90 DM 

8 1/2 -offset- 130 pgs 
Another zine that looks really cool, 
but it's in a language that's foreign 
to me. I wish I could read it though, 
for it's packed with all kindsa stuff. 
MRR type layout, with columns, re- 
views, interviews with the likes of 
Electric Frankenstein, Sick Of It All, 
Kill Holiday, Dropkick Murphys, 
US Bombs, LA Donnas and more. If 
I could speak German, I'm sure that 
I'd get this regularly. (NF) 
POBox 143445 / 45264 Essen/ 

TION #5/$1 ppd 
5 1/2x8 1/2 -copied -36 pgs 
Well I think there is a good zine 
buried somewhere in the 36 pgs and 
I think it would like to break free. The 
editor has such enthusiasm forzines 
that he is almost like an overactive 
puppy. The main problem with O/is 

■ JFanzine Review's! - 





that the editor feels he must write 

EVERY thought that goes through his 

18 year old brain. For example, does 

the world really need a 2 page article 

about how nothing 

eventful happened 

one day. This ain't 

Seinfeld kid, we don't 

care. But I do think 

there is a good zine in 

there, it just needs 

some editing. It's a 

personal zine about his 

love of pop punk and 

zines. Also includes a 

lengthy interview with 

Josh Rutledge of Now 

Wave and Pee Pee 

zines. CDS) 

RR#1 Box 1168/ Ne- 

scopeck, PA 1 8635 


$3 ppd US, Canada, Mexico ; $7 

5 1/2x81/2- offset - 1 20 pgs 
This zine use to be called Zine World, 
now it has this huge name which re- 
minds me of A Reader's Guide to 
Periodical Literature, but I am a librar- 
ian so the rest of the world might not 
make this association. Beside the 
name change I still think ARGttUP is 
still a great zine. Not only does it 
included a massive amount of zine 

reviews but has columns, news 
and contact information for the al- 
ternatively minded. This zine gets 
so much flack for giving bad re- 
views that is makes reading the 
letter section a lot of fun. As a zine 
reviewer I see a lot of crap, and 
crap should not be encouraged. I 
am often inspired by their review- 
ers. I also like how they list the time 
the reviewer spent on the zine. A 
very telling sign indeed. Orderyour 
copy today! CDS) 
PMB# 2386 / 537 Jones St / San 
Francisco, CA94102 

REPORTER #1-3 / $3 ppd 
8 1/2X5 1/2 -offset -28 pgs 
Reporter is a sleeper comic series 
in a film noir style. It's set in the 
1940s and has writers, gangsters 
and bank robbers. The simple black 
and white drawings have a Dick 
Tracy feel to them. While the three 
I read were strange and slow-mov- 
ing, they were very intriguing. Is- 
sue #2 is based on screenplay by 
Noel Coward, but I don't know if the 
film has ever been made. These are 
slow but cool, and I want to know 
where the story is go- 
ing. (BC) 

PO Box 1 0952 / Port- 
land, OR 97296-0952 



8 1/2x11- offset - 80 


Pretty run of the mill 
straight edge zine with 
run of the mill straight 
edge interviews with 
In My Eyes, Good 
Clean Fun, Gameface, 
and, since this is the 7 
Seconds tribute issue, 
Kevin Seconds. The 
GCF interview is great, but that's 
cause they're great. I just wish that 
a zine from the Netherlands would 
interview more European bands in- 
stead of talking to everyone that 
every state side zine interviews. 

RDe Nijverheid 30 / 7681 MD 
Vroomshoop / The Netherlands 



1 x 1 5 - offset - 8 pgs 

It seems that this has been around 

for awhile and I have totally missed 
the boat on this one. This is a hard- 
core product that actually has a fo- 
cus on content. The columnists are 
articulate and interesting. The editor 
seems intelligent. The reviews are 
lengthy and opinionated. This is a 
nice product. (AR) 
PO Box 815 / Norton, MA 

$1 ppd 

8 1/2x11 -offset/copied - 

Josh states straight off that 
he wants to make a living off 
this, and he talks incessantly 
about advertising. Well Josh, 
you've got an awful long way 
to go. This zine has almost no 
content, the interviews are 
pretty boring, and I hate to 
see anyone say they purpose- 
fully got fired from their job 
because they want to live off 
the scene. Bad idea. (SS) 
49 Wilcox St / Rochester, NY 

MOUTH #2 / $1 
8 1/2x11 - offset - 52 pgs 
Maybe I would feel different if I lived 
there and had a sense of where this 
was coming from but I felt unin- 
spired with this. The columns are 
wishy-washy. The editor has great 
intentions but what are intentions 
worth anyway? The quality is high 
but it feels unfocused and search- 
ing.. . Searching is great but why put 
out yet another zine? (AR) 
526 Queen Ave N / Minneapolis, 
MN 55405 

SILENT WITNESS #2 / $1 ppd 

5 1/2x8- copied - 24 pgs 
This is a really intense and amazing 
zine about this woman's deeply per- 
sonal experiences and her process 
of dealing with them. This was not a 
cheezy emo zine - it is totally unpre- 
tentious and genuinely insightful 
without trying to be. She used writ- 
ing as a therapeutic tool and much of 
the zine reads like a journal or diary 
but doesn't feel creepy or voyeuris- 
tic like some zines do. There is also 
writing about her involvement with 
an organization that provides advo- 
cacy for women who have been 

raped and assaulted . By far, one of the 
best zines I have read. (JU 
10584 GSS / Durham, NH 03824 


8 1/2x11 - offset - 204 pgs 
This is huge and there's lots to read - 
many band inter- 
views (Lower- 
case, Starlite 
Red Monkey and 
others), and tons 
of reviews - all in 
the emo/indie/ 
punk vein. It 
looks great. It's 
very profession- 
al. My major 
complaint is that 
the interviews 
need serious ed- 
iting! Just be- 
cause someone 
in a band is talk- 
ing does not 
mean every word 
is interesting! Every band interview is 
8-.1 2 pages long and there's just lots 
of excessive rambling, to the point 
where I lost interest and moved on to 
the next overly-long interview. The 
other thing is that this zine is very boy 
focused - mostly boy writers and boy 
bands - and the columns were dull. It 
would be great to see one of these 
slick emo-ish zines that is out these 
days develop into 
something truly awe- 
some - it seems the 
energy and potential 
is there, but it hasn't 
happened yet. (MD) 
PO Box 4432 / Boul- 
der, CO 80306 


#60 / 55C ppd 

11 x 17 - offset - 16 


Most folks probably 
know this already, a 
free newspaper style 
zine that is a real labor 
of love. I haven't seen 
it in a long time, but it 
used to come out of 
NYC and it appears that Christine has 
moved to Richmond, VA but contin- 
ues to wage her war from there. The 
first page has her musings and then 

jFanzine Reviews U 

there are columns, tons of band 
photographs, and exhaustive zine 
and music reviews. Euro-anarcho- 
DIY style to it, really great and wor- 
thy of your respect! (MJ) 
POBox 26632 / Richmond, VA 

SO FUCKIN' WHAT #8 / $2 ppd 
8 1/2x11 -copied - 26 pgs 
Upstate NY represents. This issue 
is all columns, reviews, and some 
political pieces that go along with 
the anarcho-crust style the zine cul- 
tivates. As columns go, I've seen 
much worse, and the reviews have 
some character too, as they cover 
mostly their genre and area. My 
only complaint is that the music 
reviews are much more lengthy than 
the zine reviews - don't zines merit 
the same attention, especially the 
ones you're so stoked on? This 
publication will mainly be of interest 
to the upstate kids. A sticky note 
attached to the cover informs me 
that this issue comes with a So 
Fuckin' What7".(JM) 
253 Alexander St / Apt #332 / 
Rochester, NY 14607-2538 

SO WHAT #4 / $2 ppd 

5 1/2x8/1/2- copied - 28 pgs 
This is a zine from the Denver area 
and they seem pretty proud of it. 
They even had an article about why 
the Denver scene doesn't suck. Ya 
gotta give them credit for not taking 
the easy road and com- 
plaining that theirscene 
sucks like so many oth- 
er zines. I was kind of 
lukewarm about this 
zine. I thought the pho- 
to story of Sleeping 
Beauty was clever and 
I liked the story about 
the editor's trip to the 
Zine Conference. Oth- 
er pieces in the zine I 
could do without. And 
no, there is not any- 
thing about the shoot- 
ings in case you where 
wondering. (DS) 
8133 S Fillmore Wy / 
Littleton, CO 80122 


#13/2 stamps 

5 1/2x8 1/2 - copied - 16 pgs 

Fairly well written zine about camp- 

ing and nature and other stuff I know 
nothing about. I don't know why 
some zinesters have such an aver- 
sion to capitalization, but at least 
this has paragraph breaks. (SS) 
PO Box 2536 / Missoula, MT 59806 

SPANK #11 /$3ppd 
8 1/2- offset - 73 pgs 
Another MRR type zine, but much 
more slick. Besides the normal re- 
views and columns, there's inter- 
views with No Motiv, Moral Crux, 
Stiff Pole Records and a few more. 
This is nothing original, but still a 
good zine. (NF) 

1004 Rose Ave. / Des Moines IA 

SPEED DEMON #1 / $5 ppd 

8 1/2x11 1/2 -copied -82 pgs - 

Speed Demon offers the targeted 
reader a very comprehensive, if 
not entirely original, glimpse into 
queer perspectives on punk, poli- 
tics and the arts. With a sharp eye, 
reviewers tear open the Olympia- 
pop phenomenon and other " queer 
and queer-friendly music stuff, " as 
well as an impressive roster of 
books and zines orbiting queer- 
dom. A Kathy Acker interview, con- 
ducted by Kathleen Hanna, and 
pertinent x- Yugoslavian articles are 
translated into Italian, and homo- 
sexuality in jail is discussed, among 
many othertopics. This is not visu- 
ally stunning, but is still eye-catch- 
ing if just for the informative riches 
inside. (AC) 

PO Box 44 /A / P.zza San Babila 4/ 
D / 201 22 Milano/ Italy 

SUBDRIVE #2 / free 
Fairly skimpy little zine with inter- 
views with The Scofflaws, Youth 
Brigade, and others. There's noth- 
ing really wrong with this magazine, 
it's just the kind that reviews the 
Warped Tour and uses the term 
"mosh" a lot. 

PO Box 757 / New Hyde Park, NY 

TAKE A STAND #2 / $1 ppd 

5 1/2x8 1/2 -copied -28 pgs 
Short and to the point, this has an 
interview with Olympia's Old Time 
Relijun and a bunch of little stories, 
many of which concerning driving or 
traveling. Looks nice, some of the 

stories are interesting. (AM) 

0615 SW Palatine Hill Rd #1074 / 

Portland, OR 97219 


/ $4 ppd 

11x8- offset - 72 pgs - German 
Great punk rockzine from das Bruder- 
land, this issue covers Boris The Sprin- 
kler, The Holsteins, Vice Squad and 
Citadel Records. There are loads of 
new record reviews, gig reviews and 
lots of interesting gossip. Contact 
these punkers by e-mail: (HH) 
Ralf Hunebeck / Muhlenfeld 59 / 
45472 Mulheim / Germany 

^Fanzine Reviews^ 

TRUST #77 / $4 ppd 

1 1 x 8 - offset - 64 pgs - German 
The usual good solid punk from Trust 
, this issue having interviews with Hell- 
worms, Dropkick Murphys, Sabeth, 
and Agent Orange. There are also 
columns, plenty of reviews and a great 
gig listing. (HH) 

Dolf Hermannstadter / Postfach 
1 1 0762 / 28207 Bremen / Germany 


#41 /$1 ppd 

5 1/2x8- copied - 52 pgs 
This zine claims to have a theme for 
this issue though I can't seem to iden- 
tify it. I guess the theme might be 

show reviews that read like journai 
entries or sex and relationships. 
There is some advice from the au- 
thor, Boone, about respecting your 
partner's boundaries and needs. 
Also, articles on monogamy and 
media coverage of shootings in of- 
fices and schools, and interviews 
with The Bangs and the filmmaker 
Sarah Jacobson. A mixed bag, but 
mostly interesting stuff. (JL) 
PO Box 329 / Colombia, MO 65205 



8 1/2x11 - offset - 78 pgs 
Man, I remember reviewing this mag 
a long time ago. . . I gave it a glow- 
ing review, convincing myself it 
had to be a fluke. Well, here they 
are three years later, and they're 
still putting out issues that fucking 
kill! Aside from the columns that 
somehow steer clear of being ge- 
neric (hell, don't ask me how they 
do it!), they've got interviews with 
Mustard Plug, the head honcho at 
Relapse Records, Teen Idols, Vi- 
sion of Disorder, and a whole 
bunch of other random shit to 
round it out, all with a great color 
cover. Chalk another one up for 
Long Island! (RD) 
PO Box 236 / Nesconset, NY 


8 1/2x11 - copied -32 pgs 
These are pretty funny comics, 
although most of the jokes are 
aimed at someone about 1 5 years 
older than me (that'd be mid-thir- 
ties). This issue focuses on cereal 
ads from the late sixties and early 
seventies, before I was born. I un- 
derstood some of the jokes with the 
help of the foot notes, which teach 
way too much about breakfast cere- 
al mascots. So if you were born in 
'79, didn't have a TV growing up, 
and ate your mom's home made 
granola, most of this will be over 
your head, but it's still pretty enter- 
taining. (BC) 
PO Box 7273 / York, PA 1 7404 

THE USUAL FARE #3 / $2 ppd 

8 1/2x11 - copied - 12 pgs 
Not really aptly named. This zine is a 
fun read in places, particularly the 
smaller pieces that incorporate 
graphics in a humorous, yet political 

way. The bulk of the writing, howev- 
er, is self-described confessional 
purging, and to be honest, I could 
have done with less of that. Its cut- 
and-paste layout looks nice, and is 
actually pretty refreshing. It also 
comes with a separate 1 2 page book- 
let about DIY screenprinting. Not 
bad, but the long-winded and overly- 
clever style of writing lost me I'm 
afraid. (AM) 

610 Bathurst St / Ottawa / Ontario 
/K1G 0X8 /Canada 

WE DARE BE FREE #5 / $1 .50 


1 1 x 1 7 - offset - 20 pgs 
Being from New England, I appreci- 
ate any punk stuff that comes from 
there (well, pretty much). This anar- 
chist newspaper has a lot of news 
from all over, contact addresses, 
and starts off with a reprint of a 
Kropotkin essay. So it's your basic 
anarchist stuff, and I think you are 
either down with this style oryou are 
not. It's super punk and must be 
great if you live in New England for 
the contacts alone. (MJ) 
PO Box 230685 / Boston , MA 02 1 23 

WIIMOS & ME #3 / booze trade 
cardboard - stapled - 4 layers 
The editor, Vinnie La Russa, dis- 
cusses his experiences drinking bad 
sulfitic wine, sometimes from small 
boxes and vomiting in scenic spots 
around Tulsa and SF. In his travels, 
Vinnie meets faded old punks and 
world-worn ex-train hoppers burst- 
ing with stewed Great Depression- 
era nostalgia. Fantastic and touch- 
ing. (AC) 

21st St. Shelter / San Francisco, 
CA 94147 

^Fanzine Reviews"^ 


and a stamp 

5 1/2x8 1/2 -copied -22 pgs 
This looks like crap, but that's OK 
cause the editor isn't trying to make 
it look good. There's some reviews, 
poetry, art, columns and interviews 
with DRI, Fear, Tom from Dead Beat 
Records and a few local bands. The 
one with Fear is pretty funny cause 
one of the dudes asks the interview 
kid if he has any beer, the kid says no 
and the band hits the bricks. Pretty 
funny. (NF) 

3701 S Watson Rd Box #121 / 
Buckeye AZ 85326 

TER #1 /free 

A one page bike messenger zine with 
information on bicycling in DC and 
New York, book review, and other 
bike messenger information, 
c/o Carl (os) Kosienski / 5470 West 
Military Dr. #2715 / San Antonio, TX 


It looks like the mail is finally flowing 
back out of Novi Sad — I hope that 
means conditions are 

improving... KTFis an oi/streetpunk 
zine in Serbo-Croatian, with inter- 
views with the4 Skins, Bomb Squad- 
ron, the Warriors, and others, along 
with record and live show reviews. 
Miljan Bosancic / Narodnog Fronta 
78 / 21000 Novi Sad / Yugoslavia 

LOLLIPOP #48 / $5 ppd 

A corporate rock mag, which I as- 
sume was inadvertently sent to this 
address. Covers some of the big- 
ger punk bands. Die. 
PO Box 441493 / Boston, 
MA 02 144 

OINTMENT #5 / 50 cents 
+ stamp ppd 

Grrl powered zine, poetry, 
fiction, lists, reviews. 
Wright I 0416 / University 
Park / Carbondale, IL 62901 

PARANOIA #95 / 2,50 

This German language zine 
has a classic euro-layout, 
complete with local listings 
(Book Your Own Fucking 
Austria! info enclosed) and 
predominantly US punk rock 
coverage. Interviews with 
Good Riddance, UK Subs, 
H20, and Anarcrust. They 
oughta just move to San Fran- 
cisco for easier access. 
Paranoia / Postfach 3 1 / A- 
10 13 Vienna /Austria 


To me, this is the kind of zine grown- 
ups make, d-u-l-l. Half of this is diary 
entries about married adult life. Dan 
Ouayle quotes, reviews, and other 
random neatly, computerly laid out 
bits make up the rest. 
PO Box 8145 / Reno, NV 89507 

Well they said it was the boring issue 
and they aren't kidding. Stanley Ku- 
brick and a lot of zine and record 

PO Box 7636 / Bloomfield Hills, Ml 



Interviews with Hepcat, Dropkick 
Murphys, Furious George, Ten Foot 
Pole, plus reviews and photos. 
PO Box 1 1 60 / Maywood , NJ 07607 


#1 / free 

Flimsy first issue with sparse layout, 
too many fonts, and interviews with 
the Generiks, Snapcase, and Dick- 
ie Staboner. 
PO Box 35254 / Phoenix, AZ 85069 

i he Zine of Epicenter Zone's Demise 

Gordon Edgar, long-time 
Epicenter worker, decided to turn 
his experiences working at the 
punk record store into a fanzine 
entitled Epi-logue. Detailing the 
failures (and successes) of Epi- 
ary nine 
years as a 
teer-run community space. The 
following interview was conduct- 
ed with Gordon a little late to 
make the sjyecial Epicenter issue 
of MRR, but it's still interesting 
and relevant. Interview by 
Casey R. 

MRR: What prompted you to 
write a fanzine about the clos- 
ing of Epicenter? 
GE: At first, when I heard 
Epicenter was closing, I just 
wanted to do something for 
the closing night event; some- 
thing tangible to give to peo- 
ple to commemorate the nine 
years Epicenter existed. I had 
lots of old fliers and pictures, 
because I worked there from 
1991-96, and I found a short 
essay I had written about Ep- 
icenter when I left. I decided 
to expand that as a building 
block for people to think struc- 
turally about why Epicenter 
had the problems it did. It 
became a combination nostal- 
gia and criticism zine. 
MRR: What did you take away 
from that experience (work- 
ing at Epicenter)? 
GE: The first thing was meet- 
ing so many great people. That 
sounds kind of shallow at first, 
but a lot of different people 
came through those doors — a 
lot of people with different inter- 
ests, different lefty politics, and 
different backgrounds were able 
to connect for the first time. You 
shouldn't underestimate the pow- 
er of a place where people can get 
to know each other in a big, 
expensive city. So I take a lot of 
memories and friendships with 
me from my time at Epicenter. 
On the other hand, I also take a 
lot of experience in how not to 
nin a collective, which is mostly 
what I tried to get across in my 

MRR: What did you/do you hope 
will come out of the fanzine? 
GE: Mostly, I wanted to start a 

productive discussion about Epi- 
center and alternative spaces and 
leave out a discussion of individual 
personalities. Certainly, I drew on 
a lot of discussions with ex-Epicen- 
ter workers and friends. I also 


wanted to get over some of the 
bitterness that I've seen from a lot 
of ex-workers, so there can be a 
place to talk about the good and 
bad things we got out of trying to 

create a space like Epicenter. The 
way it burned people out was evi- 
dent in the fact that so few older 
workers showed up for the closing 
party. There were maybe eight peo- 
ple from my time period, a time 
when literally hundreds worked 
there for some period of time. We 
hung out in the back room and 
discussed our health problems. I 
also hope it can provoke discussion 
in other similar groups out there 
and give people starting such 
projects something to think about. 
MRR: What sort of reaction have 
you recieved? What sort of plans do 
you have for any future issues? 
GE: Well, because MRR lost the 

first copy I sent to you, and it 
hasn't been reviewed yet, it hasn't 
been seen too much'bevond the 
Bay Area (ha ha). The'reaction 
has been very positive, even from 
the people I thought might be 

of the 
zine not 
i n g 
I think people concentrated a 
little on the parts they liked, 
either the fliers and graphics or 
the long essay. Many people said 
they would have contributed if 
they had had the chance, and 
actually I felt funny doing this 
zine on my own." Ideally, I 
would have done this in a 
collective maimer and had a 
lot of different people write 
about their feelings/thoughts. 
Unfortunately, I was out of 
town until three days before 
the closing party ahd didn't 
have time to organize it. As it 
was, I got food poisoning, 
worked every day including 
overtime, and barely finished 
it at all before the party start- 

I will coordinate putting out 
another issue with other peo- 
ple's writing if there is inter- 
est. It seems like another issue 
will happen, but probably not 
till the new year because I 
have too much going on right 
now. I've definitely said mv 

MRR: Much of your zine re- 
volves around the failings of 
Epicenter as a political entity, 
and subsequently, the failing 
of punk as a progressive polit- 
ical movement. What do you 
feel can or should be done to 
politicize the punk rock commu- 

GE: Well I think that's the wrong 
question. I was totally inspired to 
become political through punk 
rock, but I don't know if politi- 
cizing the punk community as a 
whole is either possible or a" good 
organizing goal. Organizing 
around "Punk" identity seems 
like a dubious project at best. I 
saw many people leave Epicen- 
ter because identifying around a 
musical subculture was too re- 
straining for them. I guess I want 
people to think bigger than just 



When I talk in my zine about 
Epicenter being a punk commu- 
nity center there were two things 
behind it that I might not have 
made clear. The first is that I felt 
like that would be a compromise, 
but maybe an achievable goal, 
given the history of the space. 
The second was" that I kind of 
view punk as a possi- 
ble entryway into be- 
coming aware of the 
forces that control 
and shape society. 
There aren't that 
many around and 
punk is very valuable 
because of" that. But 
it is one that only 
speaks to certain 
types of people. I'm 
not using that as a 
code for race here — 
because certainly 
many punks of color 
helped make Epicen- 
ter and are involved 
in punk scenes every- 
where — but it is cer- 
tainly a youth culture 
and requires listen- 
ing to a certain type 

Personally, I feel like I got 
many of my political ideas through 
music, but developed my politi- 
cal analysis through working with 
primarily political, not punk, 
groups. I missed working with 
people who had the riot/smash/ 
direct action punk politics as a 
first reaction, but it also gave me 
a little perspective. Subcultural 
organizing has to see the bigger 
picture to avoid becoming isolat- 
ed and reactionary. 

MRR: If one were interested in 
starting an Epicenter-type place, 
what one piece of advice would you 
offer them to try and ensure its 

GE: Figure out, at least on a basic 
level, what you are trying to accom- 
plish. Your" structure and the way 
you operate should go from there. 

But stay flexible, fun, and inclu- 
sive. Avoid isolation, and don't be 
afraid to think big. No problem, eh? 
Go out there and do it. 
aiRR: A good deal of your fanzine 
details the failings/problems of Ep- 
icenter's existence. What do you 
feel were its successes? 
GE: Bringing people together at 
various times. Some great political 
events, as an anti-Gulf War staging 
area for instance, and social events 
like say, the first Bikini Kill show 

and all the Q-Tip events. Creat- 
ing, at times, that elusive feeling 
that everyone participating was 
working together, creating move- 
ment and a Movement. It's kind 
of piecemeal. Some days I came 
home from Epicenter feeling 
great; some days wondering why 
I was wasting my time. 

It "was also a suc- 
cess in giving people 
on the outside inspira- 
tion to start their own 
projects based on what 
they felt Epicenter to 
be. "individually, a lot 
of people grew a lot 
during their tour of 
duty at Epicenter, most 
of them for the better. 
I actually had an 
amazing ex-Epicenter 
day a few weeks ago. I 
hung out with one ex- 
worker after she got 
off work, met another 
for drinks and them 
went to go see The 
Strike and Songs For 
Emma play, seeing an- 
other 10-15 ex-work- 
ers. I was amazed again 
at how many great peo- 
ple came through that" place, how 
much they've accomplished indi- 
vidually, and wondered again at 
why Epicenter wasn't a stronger, 
more functional, oppositional 
community in the Bay Area. That 
seems to be the important ques- 
tion, as we try to build political 
spaces and movements in this 

Epi-logiie is available for $1 ppd 
from Gordon at 740A 14th St. 
#207, San Francisco, CA 94114 

ffomxge {Teenage &eenam 

© ©© 

#Wofe«0 V^ V^ 

a* em When U Hurts US Tour '99 

PA @ Upstairs at Nicks 
The Continental 


7 Philadelphia 

+8 BIO, XT e 

Eoohoeter, HI @ The Bug Jar 

Troy, II @ Positively 4th St. 


Toung»town, OH @ Nyabingi Dance Hall 

OlsTalasd, OH @ Pats in the Flats 

Detroit, HI @ Gold Dollar 

Ohloago, II @ The Empty Bottle 

Green Bay, HI @ Concert Cafe 

Hor»al, II @ The Gallery 

Sioux OitT, IA @ TBA 

Oaeper, »I @TBA 

Biaaoula, HI @ TBA 

Spokane, HA @ Ichabods 

Seattle, »A @ TBA 

Seattle, VA @ The Break Room 

Eugene, OH @ John Henry's 

Saoramento, OA @ TBA 

Heno, B7 @ Planet 9 

San Tranoiaoo, OA @ TBA 

Xong Beaoh, OA @ Que Sirra 

Costa Mesa, OA @ Club Mesa 

Ooata Heaa, CA @ Linda s Doll Hut 

Pheonix, A.Z @ TBA 


+ 10 




















Auatin,' II @ Emo's 

Pt »orth, II @ The Wreck Room 

Denton, II @ The 4D 

Oklahoma City, OK @ Music Dimensions 

Kansas Olty, KS @ TBA 

St. Xoia, HI @ TBA 

Ohioago, IX @ TBA 

Oleyeland, OH @ TBA 

•= w/ the Stitches += w/ TV Killers 




19 Xong Beaoh, OA @KBCIub 

20 Xoa Angeles, OA @ Al s Bar 

21 San Iran., OA @ Covered Wagon 

22 Portland, OH @ Cobalt Lounge 
25 Seattle, VA @ The Break Room 




Smogtown- Beaoh City Batchers 

-After 2 rippin' 45's on local feve label Hostage records, the 
only Butchers of the Beach you need to worry about move 
over to Dead Beat for this sick slab of beach punk madness. 

The front and flip of this mutha crank through 6 brand new 
tunes including the smash hit 'Two Stroke . These guys have 
been ripping up the local dives in Orange County for the past 
few years, ancf now you can see why the number of 
SMOGTOWN WAVERS continue to multiply with time. 
Split CD out soon with the Teenage Knockouts. 

10"= $7 US, $8 Can., $9 World 

Dead Beatfifeeoh^ 

PO Box 283 a 

Los Angefes,CA 90078 
Ph/Fx.#(323) 962-3065 
Deadbeatrx @ 

GTA 035 UR FUNCTION SVART SNO Bellyache & Acideyes ' CD 73 mm. Ur Funktion recorded this unre- 
leased session in 85 at Mob 47 s studio/bowling alley. Svart Sno s 88 92 cuts feature many unreleased. 
Blazing Swedish thrash 

GTA 036 SHATTERED FAITH 1982" CD 64 min. The complete session with numerous extra tracks that 
couldn t fit onto the original live studio LP. awesomely re-mixed by and featuring Kerry of the US Bombs. 
GTA 037 FUNERAL "Have You Seen My Leather Jacket 7 CD 68 mm of 80 82 So punk including 
lots of extra tracks from the same session that produced the much sought and recently bootlegged from 
Waiting For The Bomb Blast 7". 

GTA 038 FALLOUT Spit On The Innocent CD 58 min. Newly recorded in 98 studio session for GTA + 
bonus live gig. from this Australian blistering high speed assault unit who've has previous releases on 
Spiral Objective. 

(ail full length releases are an hour or more & come with a 16 page booklet, except GTA 031 with 21 min/8 page) 
WE KEEP EVERYTHING AVAILABLE: Agnostic Front, Trip 6, Mourning Noise, Demise, Voorhees, Sin 34, RF7, White Cross, 
Circle One, Rattus, Adrenalin OD, Red Scare, Raw Power, Cripple Bastards, Anti, Terveet Kadet, Plain Wrap/Mox Nix, 
Abandoned (w/Tony Adolescent), III Repute, Lost Generation, Human Hands, Bad Posture, P.E.L.M.E. and more! 

(Send 55* in US stamps or 2 IRCs for full color catalog. No stamps/no reply) 
Mailorder from BOMPI: $11 ppd (CA residents add sales tax), $12 ppd Canada, $14 ppd 
World airmail— except GTA 031: $8 ppd (CA residents add sales tax), $9 ppd Canada, 3 
$11 ppd World airmail • wholesale rates are $8 to stores and $7 to dlstros and ^ ^ 
mailorders • attn: international labels, for trades contact: Sound Idea In Florida; &«,*■ 
or Agitate 96 c/o Richard Ramos, 11479 Amboy Ave., San Fernando, CA 91340 





%W M 



I i~f "West Side Horizons" 

/<£• CD * 10 

: > «—*> 62songs. !6imreleased 

^/if Irom the aborted MITB split 


(Spazz.Despise You. 
Charles Bronson, 
Pretentious Assholes) 

"Scott Case (out of 
print material)" 

CD $10 

&;( it ■}<>mmii$ n.-iir.fef ' 


Cry Now, Cry Later -volumes i & 2- cd $10 
GRIEF Torso cD$io,dhiLP$io 

EXCRUCIATING TERROR Divided We Fall CD $10, LP $8 
-16- BLAZE OF INCOMPETENCE c "$lo, Lp$ 8 
D1V1SIA Wifebeater cd$io,lp$8 

Cry Now, Cry Later -volumes 3 & 4- co $10 
SPAZZ/H1RAX split 7" $3.50 




Pessimiser logo on XL 
grey Beefy-T. $12 


Photo by Carrie Whitney 

Still Available 


"A Bond Still Strong" 

15 SONG 1 -SIDED LP $6 P.P. 





Check out the website for info on all 

Excursion Releases, Mailorder, Movies, 

Upcoming projects, and Other Junk. 

I HTTP^/Members.AOL.COM/Excursionx ! 



^P.O.BOX 20224 } 
1 SEATTLE. WA 98102 ( 

All items ppd in US. • Can. and ^k 
Mex. add $1 per item • Overseas add ^| 
$3 for CD/$2 each additional , $5 for LP. T-shirt/$3 each additional 
(Asia/Australia $6 for each LP, I shirt/$3 each additional j^t ^^ 
Checks. MOs. or cash payable to Pessimiser Records ^^^H 
POB 1 070 Hermosa Beach CA 90254 ■ ^^ 
distributed by revolver usa 415/241-2426 


— I 

Sometimes misunderstood, sometimes loved but 

they always deliver the great PUNK ROCK) Fueled by 

leather jackets, creepers, eyeliner & leapord skin the 

Haloes deliver more of their Saints, early Social Distoriton 

Clash & Generaion X influenced Punk in 


Cheap Trick, Hanoi Rocks, Ramones, Manic Street 

Preachers, Replacements, early Goo Goo Dolls, 

Undertones?? Power Pop, Trashy Pop?? All these are 

what American Heartbreak may remind one of, either way 

it's great catchy as hell Pop/Punk/Rock n Rollll 

The CHEMO KIDS "New York Doll" 7" 

Cincy's best!! Snotty as hell Punk Rock!! 

Two great No. Ca! bands. Romeo's Dead do great Trashy 

Pop/77 Punk while the Burdens may remind one of 

SHAM 69!! 

The RIFFS 7" 

Great Oregon band who have a great Sex Pistols guitar 

sound, staright up 77 Punk!! 


Great 77 meets Garage type Punk from UTAH, RAW! 


Out now on BLUE vinyl!! No fake accents they're real 

Brits, if you like the CLASH you'll love this band. 

The BURNOUTS "Porno Queen" 7" 

On a purple/pink/white colored vinyl!! 77 meets 82 

Punk Rock from Orange County!! 

check out the web Daae I 



PELADO also carry's lots of other labels like TKO, JUNK 

Hostage, Radio plus tons more and lots of cool Punk 

Rock shirts from 77-82!! Write for catalog or go to 


USA: 7" $3. D. Haloes CD $7. 

CAN/MEX: 7" $4, D. Haloes CD $8. All others : 7" $5.50 

or if you buy two items they are $5 each. Haloes CD $9. 

U.S funds only payable to P. Grindstaffll All items sent 

First Class in USA & Small Packet Air. 


521 W. Wilson #C1 03 

Costa Mesa, CA 92627 USA 

Distribution: Revolver, Get Hip, Choke, Rotz, 1000 

Flowers, Nail, Underground Med, Green Hell, 1000 

Leafs, Revelation & others!! 

Stores/Distros Get in touch for a bunch of cool PUNK! 


p.o. box 42586, Philadelphia pa 19101 usa. 
visit us on the web at! 

ACME Discography Ip/cd $7/$9 

AGNOSTIC FRONT Something's Gotta Give lp/cd $10/$13 

ANGEL HAIR Pregnant With The Senior Class cd $11 

ANTIOCH ARROW In Low With lefts Ip/cd $8/$ll 

ANTI-FLAG Their System Doesn't Work For You cd $11 

ASSUCK Anti-Capital cd or ASSUCK Misery Index lp/cd.$8/$10 

ATOM & HIS PACKAGE A Society Of People cd $8 

ATOM & HIS PACKAGE s/l cd $9 

AVAIL Over The lames Ip/cs/cd $9/$8/$12 

AVAIL Live At The King's Head Inn cd $9 

AVULSION cd (on 625 Records) $9 

BENUMB Soul Of A Martyr Ip/cd $9/$12 

BETTER THAN A THOUSAND Value Driven cd $12 

BIKINI KILL The Singles cd $12 

BLUE TIP loin Us cd $11 

BOY SETS FIRE The Day The Sun... Ip/cd $8/$ll 

BOY SETS FIRE/u Chrysalis cd $9 

BRAID Frame cV Canvas cd $11 

BUZZOVEN At A Loss cd $12 

CAVE IN Until Your Heart Stops 2xlp/cd $13/$11 

CAVITY Supercollider cd $12 

CHRISTIE FRONT DRIVE s/t Ip/cd (on Caufield) $8/$IO 

CLIKITAT IKATOWI River Of Souls Ip/cd $7/$8 

CITIZEN'S ARREST Discography cd $12 

CONVERGE When Forever Comes Crashing Ip/cs/cd $8/$ll • 

CRO-MAGS Live In Wellington / 1984 demo bootleg cd $14 


DISEMBODIED If Cod Only Kneiv The Rest Were Dead cd $9 

DOC HOPPERZies, Zags, & Yaxvs cd $11 

THE DONNAS / TOILET BOYS split 7" $3.50 

ECONOCHRIST Discography double cd $10 


FOUR HUNDRED YEARS Transmit Ip/cd $8/$10 

GET UP KIDS Four Minute Mile lp/cd $8/$ll 

GRADE Separate The Magnets 10'Vcd $8/$10 

GROUNDWORK We Will No Longer Be Silent... cd $8 

THE HELLACOPTERS Supershitty To The Max cd $12 

HIS HERO IS GONE Monuments To Thcives Ip/cd $8/$8 

HOT WATER MUSIC Forever & Counting Ip/cd $8/$ll 

IN/HUMANITY The History Behind The Mystery lp+7" $9 

INK & DAGGER The Fine Art Of The Original Sin lp/cd...$8/$ll 

JEJUNE This Afternoon Malady cd $11 

KEROSENE 454 At Zero Ip/cd $8/$10 

KRIGSHOT Ip/cd $8/$10 

KID DYNAMITE s/t cd (ex-Lifetime) $11 

LARM Extreme Noise cd (discography) $12 

LEFT FOR DEAD Discography cd $10 

LIFETIME jersey's Best Dancers lp/cd $8/$ll 

MAN IS THE BASTARD Discography Ip $8 

MOSS ICON Lybuymam cd...! $10 

NEMA Bring Our Curses Home lp/cd $8/$10 

PROMISE RING Nothing Feels Good lp/cd $8/$ll 

RACE TRAITOR Burn The Idol Of The White Messiah cd $12 

REFUSED The Shape Of Punk To Come cd $12 

SLEATER-KINNEY Gel Up 7"/cd $4/$6 

SOILENT GREEN Scum Mouth Secrets lp/cd $10/$12 

SPAZZ La Revancha Ip/cd $8/$10 


SUBMACHINE Sawed Off Shotglass cd $10 

SUBMISSION HOLD s/t Ip/cd $9/$9 

TOKEN ENTRY jaybird cd $12 

V/A ANTI-RACIST ACTION cd (w/Napalm Death, Less Than 
Jake, Jello Biafra, Citizen Fish, Bouncing Souls, Suicide Machines, 
The Toasters, Mephiskapheles, Discount, Good Riddance).... $11 

V/A REPROACH 7" (Neg. Approach cover, w/Spazz, etc) $4 

WORD SALAD Dealhmarch 201)1) Ip/cd $8/$10 

VIOLENT SOCIETY The Rise Of Punk... cd $10 

note : minimum order is now $7 due to rising postage costs, 
pa residents please add 6% sales tax. sorry kids. 

* 1st price is for cassette/vinyl, 2nd price is for cd. 
always try to list alternates, credit slips otherwise. 

postage: U.S. postpaid via 4th class, add $2 for fast priority mail 
Add additional $2 to have your order insured from loss. 
Canada: $1.00 per 7"/cs, $1.50 per cd, $3 per 12"/lp 
Europe: $2.00 per 7'7cs, $3.00 per cd, $5 per 12"/lp 
World: $2.50 per 7"/cs, $400 per cd, $7 per 12"/lp 

We also take Visa/MC/AmEx/Discover cards now, so call 
(215) 203-VERY from 12 noon to 7 pm (orders only). There is a $15 
minimum and all orders must pay for priority mail & insurance. 

If you think that this is all we have, then you are sadly mistaken. 

Send us $2 (US) or $4 (World) for our descriptive 150+ page catalog 

full of records, tapes, eds, zines, clothing, & more. We hate to be 

egotistical, but our catalog & fast service rules! We've got lots o' 

stuff by Dischord, Victory, BYO, Dr. Strange, Jade Tree, Gravity, 

Edison, Bloodlink, Hopeless, Revelation, Ebullition, Doghouse, 

Initial, Hydrahead, Art Monk, Gravity, Prank, Sound Pollution, 

Lost & Found, 625, Slap A Ham, Vermiform, Relapse, Wreck Age 

& plus hundreds of others that aren't so big nor so rich! 

Stores! we do wholesale! drop us a postcard or fax 215.426.9662 
_for a catalog, we offer a wide variety & convience & low markups. 



Crazy Johnny t Pals deliver 4 blasts 
of punk insanity on their debut 7" 


Chris Barrows (ex-Pink Lincolns) & company rip through 1 1 new songs of full 
on raging punk with a Ion of attitude... and they look pretty damn good too! 

E^rTe^Fthe Pink Lincolns all over again 

Suck & Bloat CD 

Back From CD/LP 

Pure Swank CD/LP 

Sumo FumesUyyin^ .. 

to order by 
check out our new 

Dlstro by the cool ones that pay 

' these releases may cause global wanning... (or not) 

CD's = 510 us. S13 globe 

LP's = $8ii.s.$llglobe 

T - $3 u.s. $5 globe 


credit card 
"secure" website! 

stiff pole records 

p.o. box 20721 

st. Petersburg, fl 33742 

we moved... 

make note of our new address 



"I Am Jon Stone" 

NEW 7 song IP in Stores NOW— $7 

Check out other 206 releases from... 

Belvedere * Downway • Ferd Mert • Manner Farm * Stinkaholie * Veteran Flashbax 
Send two 33« stamps for 206 magazine, catalog and stickers 


218 Chicago Ave. • Unit 6 • Huntington Beach, CA 92648 • 


anarcho-punk / crust / thrash 
mailorder / wholesale for 
also stocking some T-shirts, 
books and printed materials. 
"lOO's of titles in stock" 


(online credit card ordering available) 

For a copy of our printed 
catalog, please send 2 z 
$.3? stamps in the US, or 
$1 or 2 z IRC's overseas. 


P.O. BOX 8722 



$3.00 Got Into a Fight in Special Ed 
Their 2nd single of High Energy Hook 
=illed Punk from Providence. Rl 

coming next month: 


P.O. Box 2846 Columbia, MD 
21045.... Send SASE for a 
Catalog., www, 


$3.50 Play The Fool (Rapid Pulse) 
$4.00 Piss Off (Incognito) 
Debut singles from Mike Spent's (ex- 
Spent Idols) new project PUNK ROCK! 


$3.00 Wicca Chicka ep 

4 songs of rude & snotty punk 

from Virginia Beach SMOKES! _ 

Tons more shit available:Lps,cds 10' 
Send stamp (U.S.) or $1 Foreign for a 
complete catalogue. Shipping per order 
U.S.:4th class $1 .00 or Priority $3.25 
Foreign get in touch first. 
Visa/MC accepted. Payable to: 
P.O. BOX 5075 

MILFORD, CT 06460-1475 USA 
Fx (203) 937-4585 Ph (203) 932-0070 

lmp-009CD Pea Shooter "S/ 
T" Pop-punk ala Tommy Roe. 
Songs about the regular 
guy... Fast ROCK N ROLL... 

Imp-011CDEP Midget Fan Club 
Fast, Fast, Fast.... Southern 
Ga's answer to Melodic So. 
Cal Punk Rock... 

ALL CDsand Eps 
$5+$1 Shipping 
(Up to 2 copies ) 


ilfivuiWmwtvm' 5EE9QE 59 

that the world ol MRR readers is not a punk rock 
<e careful what you tell people and be careful who 
you send money to There are people out there in punkland who will try to rip you off, exploit you or manipulate you I can't 
tell you how scared I feel when I see an ad that begins "16 year old girl running away from home needs places to crash..." 

play... chart action. What's the secret? 
Do it yourself... Call 1-888-diy-prom. 

2000 items: 7712'VAlbums. I've got 
mega-rare stuff as well as usual stuff. 
Also got indie/mod/powerpop records. 
The list is full of Killed By Death, Back 
To Front, Bloodstains stuff like: Anar- 
chy, Briard, Shit Dogs, Rattus, Eat, Bas- 
tards, Victims, Razar, Glueams, Fresh 
Color, Nabat, Kriminella Gitarrer, 
Paraf, Stalin, Friction, Liket Lever, 
Chain Gang + much more. Trades wel- 
come! Send 3 IRC's or $2 for complete 
list to: Ingo Eitelbach, PO Box 1319 
23833 Bad Oldesloe, GERMANY. Fax: 
+49-4531-67733 (Tel: 67438). Email: http:// 

KILL YOUR RADIO! Punk, Pop, Hard- 
core, Indie, Emo, and Ska from the fin- 
est independent bands and labels. 
Write for free catalog and stickers: 
Skatterbrain Records POB 68082, 
Schaumburg, IL 60168. www.skatter 

worldwide 7"/Lp. Oi, anarcho, hard- 
core, Killed By Death, BTF stuff... Red 
Rage, S'ema 4, Electrochoc, Big Boys, 
Starshooter, Dogs, Conflict, Business, 
Directions. . .Send 2 IRC / $2 f or list: Ver- 
banck, BP 13, 66320, Marquixanes, 
France. Trades welcome too. KBD / BTF 
stuff and Nirvana wanted. Trade - val- 
ue given: 7" "Love Buzz" $300. 
'Bleach" Lp (color vinyl) $60. "Molly's 
Lips" 7" $50. Etc... 

VIDEOS!! Madball, AF, S.O.I.A., Skar- 
head, Crown of Thornz, Slapshot, Rest 
in Pieces, Sheer Terror, Underdog, Mur- 
phy's Law, Snapcase, Warzone, Killing 
Time, Breakdown, Burn, Hatebreed, 
Biohazard, Wrecking Crew, H20, Bruis- 
ers, Into Another, Die 116, Cromags, 
Nausea, Turmoil, 7 Seconds, Token En- 
try, Vision, Bad Brains, C.O.C., Buz- 
zoven, Mucho Mas! $1 or 3 stamps for 
list to: Jaybird, POB 417, Mt. Prospect, 
IL 60056 

IviDEOS!! Nick Cave, Babes in Toy- 
lland, Antiseen, Tortoise, Skinny Pup- 
Ipy, Blast, Quicksand, Fugazi, Minor 
[Threat, Nashville Pussy, Verbal As- 
Isault, Rollins, Samhain, Misfits, Mud- 
Ihoney, Rancid, Operation Ivy, SNFU, 
■Suicidal Tendencies, Alice Donut, 
iTool, Gorilla Biscuits, Sepultura, Na- 
Ipalm Death, Slayer, Prong, Born 
lAgainst, Jane's Addiction, Beastie 
iBoys, Mucho Mas! $1 or 3 stamps for 
llist to: Jaybird, POB 417 Mt. Prospect, 
llllinois, 60056 

THE CHARGERS "Pistol- Whipped" High 
energy punk rock-n-roll from Cleveland, 
3 song debut single on red vinyl available 
now only 3 dollars ($4 outside US) More 
rock than most can handle. MC5, Stoog- 
es, AC/DC, Hellacopters style trash. Send 
well hidden cash to Undy Rock Records, 
15629 School Ave. Cleveland, OH 44110 

etc.) Trade/sale. Thousands of shows/ 
promos/tv clips. Stuff like Jockney Re- 
jects, Propagandhi, Business, Screech- 
ing Weasel, Exploited, Poison Idea, 
DK's, Blitz, Queers, Conflict, GG, Dick- 
ies, Descendants, Operation Ivy, Disor- 
der, Ruts, Misfits, Subhumans, Snuff, 

Gin Goblins. SAE (UK) 2 IRC's (over- 
seas) or decent trades list: Dave 50a 
BIG BUBBA'S BACK From our 3rd Great King St, Edinburgh, Scotland. E- 
US tour with our brand new 12", "Amer- mail: 

ican Trend". We're fast, aggressive, early 
80s style hardcore punk, 100% DIY, no 
major labels/distros. Call us at (541) 688- 
5265 or write POB 40231, Eugene, 
OR 97404. 

CRUSTY RECORDS is starting Volume 
Two and is now accepting submissions. If 
you're punk and so's your music, send us 
something. The deadline is Jan. 15, 2000. 
Crusty Comp Volume One available now. 
Only $5.00 ppd. Send to Crusty Records, 
PO Box 591895 Commercial Dr., Vancou- 
ver, BC, V5N 4A6. 

WANTED (Original 1st pressings only, m- 
/m- condition preferred): Nubs - I Don't 
Need 7" (wp $200), Hollywood Squares - 
Hillside Strangler 7" (wp $250), Tape- 
"-eak My Face (wp $300), Helen 
_urfin' With Steve 7" (wp 
150), Child Molesters - Wholesale Mur- 
der 7" (wp $200), Horrorcomic - I Don't 
Mind 7" (wp $150), Antisocial - Traffic 
Lights 7" (wp$400), Nothing - Scream 
And Cry 7" (wp $250), Revenge - Our Gen- 
eration 7" (wp $250), etc. 70's and early 
80 's punk rock obscurities from around 
the world! ! ! I buy or trade so write, call, 
or send fax/email to: A.A.R. c/o Jukka W- 
M. Sateri, P.O. Box 174, FIN-11101, Riih- 
maki, Finland. Fax ++358 19 721328, tel 
++358 40 5481267, email jukka. sateri® 


wants to trade discs, write or email me for 
details or list, or Joey 
Fumes PO Box 177 Cypress, CA 90630 

MEGA-RARE Finnish punk rock obscu- 
rities for sale or trade: Briard - all 7's 
& Lp, Destro - Saoja 7", Rattus - 
Khomeini Rock 7", Stalin - Chaos 7", 
Neuroosi - Rock Against Seija Isonsaari 
7" ( Rarest European punk single, 10 ex- 
ist! ! !), Kasvain - Onko Suomi Usattnut 7", 
Nauta - Onko Suomi Vapaa Maa 7", 000 - 
Oodeja Simasuille 7" & Lp, Taavi & Ryt- 
miryhma - Aanilevyko 7" etc... almost all 
early Finnpunk wonders available so 
check my wants ad and offer trade (pre- 
fer) or send serious money offers! ! !) (Mas- 
sive catalogue for $2 bills / 3 x IRC. No 
email lists yet!) Write, call, or send fax/ 
email to: A.A.R. c/o Jukka W-M. Sateri, 
P.O. Box 174, FIN-11101, Riihmaki, Fin- 
land. Fax ++358 19 721328, tel ++358 40 
5481267, email 

GET DEAD WITH the Human Flys, 13 1 
song CD of wild surf-punk available for | 
$6 ppd. from Larvae Records, 2128 En- 
glewood Ave. Durham, NC 27705., 
Checks/money orders payable to Cade 

FOR TRADE (all originals, no 
bullshit!): maggots - Tammy Wynette 
7", Absentees - Tryin' To Mess With Me 
7", Fresh Color - Source 7" and Punk 
Partout 12", Drones - Be My Baby 7", 
Bastards - Danger 7", Rocks - You're 
So Boring 7", Checkmate - Only Fools 
7", Paere Punk Lp, Stalin - Satanism 
7", Brulbajz - Dodens Apostlar 7", 
Electrochoc - 3 Minutes 7", etc. Tons 
more all around the world! ! ! I trade or 
sell. (Catalogue with +4,000 punk items 
for $2 bills / 3 x IRC. No email lists yet!) 
Write, call, or send fax/email to: A.A.R. 
c/o Jukka W-M. Sateri, P.O. Box 174, 
FIN-11101, Riihmaki, Finland. Fax 
++358 19 721328, tel ++358 40 5481267, 
email jukka. sateri® 

or fuck right off- check out our radical I 
butt-kicking boot-stomping cop-hating 
rapist-killing collection of buttons abd | 
t-shirts at 
Email: orl 
write for a catalog: Kersplebedeb, CP| 
63560, CCCP Van Home, Montreal, 
Quebec, Canada H3W 3H8. 

F*U*TV VIDEOZINE. "Giant 2hr fuck 
you to music television. Superduper... 
high quality stimulation. Best thing 
videowise from Canada since Meat- 
balls" (Flipside #118). "Top notch, great 
stuff, pretty cool, pretty hip, thumbs 
up" (MaximumRnR #172, 181, 185, 
191). 8 bands/2hr tape. 7 issues, $9.11 
ea (Canada $12). Free catalog, poster. 
YaBenti Video, Box 67585, Spadina 
West, Toronto, Ont. M5T 3B8, CA- 

F*U*TV VIDEOZINE. 8 bands/2hr 
video tape. 7 issues, $9.11 ea (Canada 
$12). Live & interviews including Gut- 
termouth, Antiflag, Ghoulies, Pansy Di- 
vision, Lunachicks, Nashville Pussy. 
Free catalog, poster. YaBenti Video, 
Box 67585, Spadina West, Toronto, 
Ont., M5T 3B8, CANADUH! 
f u 


VIDEOS!! Neurosis, Zorn, Helmet. 
Melvins, Silverfish, Jesus Lizard, Big 
Black, Rapeman, Shellac, Pain Teens, 
Unsane, Cop Shoot Cop, Helios Creed, 
Tar, Surgery, Cows, Hammerhead, Foe- 
tus. Wiseblood, Distorted Pony, Baby- 
land, Railroad Jerk, Lubricated Goat, 
Laughing Hyenas, Didjits, Oxbow, But- 
thole Surfers, King Carcass. Boss Hog, 
Mule, Swans, Mucho Mas! $1 or 3 stamps 
for list to: Jaybird. POB 417, Mt. Pros- 
pect, IL 6005(3 

J"RUMORS FROM THE Air-Conditioned 
■Tiger Pit" 13 band, 26 song punk rock 
■compilation CD. With: Piss Shivers, 
■Christian Science A.D. , Bomb Squad- 
Iron & more. $5.00 (ppd). Payable to 
■Cedric Crouch, c/o Spine Punch Distro / 
|PO Box 163 / Barto, PA 19504 

gy. Core. We need advertisers so we can 
make higher-quality copies. $5 gets you 
a quarter page. Press run of 500+. Send 
pity money to: PO Box 281 / Torrance, 
CA 90507 or inquire for a sample copy. 

IFREE CABLE PUNKS! Laid off punk 
Icable worker shows how to build your 
lown descrambler with only 7 radio shack 
Iparts, for under $13! 7 step instructions 
■anyone can do. Fast service, you will re- 
Iceive in 2 weeks guaranteed! Send well 
Iconcealed cash or $10 money order to- 
|Ed Duckfield / PO Box 157 / West 
ISayville, NY 11796 


Laid off punk cable worker tells all! 
Build a descrambler for under 13 bucks 
with 7 radio shack parts. Very easy to do, 
simple 7 step instructions sent immedi- 
ately! Send $10 well-concealed cash or 
money order to Ed Duckfield / PO Box 
157 / West Sayville, NY 11796. DIY 

IDIXIE PUNKS vinyl stickers available 
■for all you Southern punks. Stickers are 
■2.13" x 2.75", red background, reads 
"DIXIE PUNKS" with Black Alabama 
■Flag and chaos symbol. $1 ppd. Dirty 
■South/ PO Box 660881/ Birmingham, AL 

$5 CD'S... Confederacy Of Scum Baby! ! ! 

Antiseen-Here To Ruin Your Groove, 
Rancid Vat-Iconoclastic Icons, Conquer- 
or Worm-Ride On, Hellstomper/Before 
I Hang-split cd, Confederacy Of Scum- 
Supershow Live 97, Tribute to Antiseen- 
various. All the above $5 each, cash or 
money order to Jeff Skipski at Baloney 
Shrapnel, PO Box 6504, Phoenix, AZ, 
85005. Overseas add postage... 

OI! A mug's down and about and could 
use some friends. I have a few years to 
the pad right now but a tad bit shy on 
penpals. If you're straight edge, punk, or 
hardcore, get at me - simple as that. Fe- 
male correspondence is accepted! Rob 
Spitznogle, 43687 ESP, PO Box 1989, 
Ely, Nv.. 89301 

MORE THAN 2000 punk/harcorde/pow- 
erpop-vinyl titles in stock. 1st and 2nd 
hand stuff from the whole wide world, for 
fair prices. Lots of '70s -punk-originals, 
KBD/BTF/Bloodstains stuff etc. Get our 
huge list for $2 (overseas), or $1 (Europe), 
or send some IRC's. Bands/labels/distros 
please get in touch! We're searching for 
distros who'll spread our own vinyl-re- 
leases. Please ask for our wholesale list! 
Sounds of Subterrania, c/o Stefan, We- 
string 61, 34127 Kassel, Germany. Tel/ 
Fax: ++49 561 8900267. 


TNT, "Zuri brennt" + "Remember" 7", 
Bastards 7" (CH), Expo LP '78 (CH), Ver- 
mines 12", Nouveaux Riches 7", M.D. 7", 
Dieter Mair 7", Anarchy 7" (J), Fresh Co- 
lour 1st 7", God's Heart Attack 7", Haer- 
vaerk 7", Nipple Erectors 7", Reig 7" (I) 
unore. Also many Hardcore +Oi! Write: 
Horst Firmanty," Postfach 650424, D- 
13304 Berlin, Germany. Or: firmanty@T- Check: 

zarre Festival 1992, Inner Tube 1981, 
Urgh! outtakes, After Hours, Night After 
Night 1992, The Tube, Conan O'Brien, 
more! 2 hours. TDK-EHG $20 money or- 
der. Jim Russo, 7314 Rockwell #2, Phila- 
delphia, PA 19111 American format only! ! 

don Late, Late Show 1997, MTV Studios, 
Letterman 1996, Phoenix Festival 1996, 
CNBC Time & Again feature. 2 hours. 
TDK-EHG $20 money order. Jim Russo, 
7314 ROckwell #2, Philadelphia, PA 
19111. American video format only!! 

MOVED AGAIN! Wanted to inform those 
out there that Kristopher Jolly, 25 year 
old punk rocker, would love to hear from 
other punks. Tell me about yourself, your 
thoughts, the way you feel, or at least as 
though you need to talk to someone. I'm 
lonely, I'm pathetic, I need to hear from 
others! 3114 School St., Des Moines, Iowa, 
50311 (new location). 

BRIAN BAKER DISTRO list #666 out 
now. Disaffect , Gism, Icons, Civil D, 
Nausea, S.O.B., Crass bands, Antisect, 
Kuro, etc. ..two dollar rare/live/demo tapes 
+ patches, shirts, 7"s. SASE to Matt 950 
Main St-Box 1881, Wore, MA 01610- 

NEW MODEL ARMY. Looking for rari- 
ties. Especially looking for the "Ven- 
geance" single with the techno remix that 
came out some time around 1995. Sparx, 
895 Vallejo St., San Francisco, CA, 94133. 
(415) 391-9026. Thanks. 

nounces the release of the long-waited 
Spectacle/Fucktooth split zine. 100 pag- 
es of writing and interviews exploring 
the effects of technology (and its corpo- 
rate control) on our lives and the world 
(plus other stuff). $3 ppd. Tree of Knowl- 
edge/PO Box 251766/Little Rock, AR 
72225. $1= catalog 

STACEY (25 from KS) Met you at the 
Old Barn Punk Fest in JM Falls, WI 
on the last night at bar. Wish I had 
an address. Really want to talk again. 
Please respond. I miss you! Write/call 
Chad (from Milw): N 929 Hwy. I / 
Random Lake, WI 53075 / (920) 994- 

FREE. The World for Free was started 
by a touring band to help with accom- 
modations in people's houses. Since then 
it's grown to over 250 members. You 
don't have to be in a band! If you like 
people more than hotels, find out about 
THE WORLD FOR FREE. For informa- 
tion write to: THE WORLD FOR FREE, 
PO Box 137-M, Prince Street Station, 
New York NY 10012, USA. Email: or via the web: http:// 

RECORDS FOR SALE from 77 to 
present day stuff by GBH/Germs/ 
Doom/Ent/Crude SS/Concrete Sox / 
Disclose / Ramones / Patrisans/Vice 
HC from all round the world $1 for 
catalogue to Destroy P.O. Box 1122 
Bristol/ BS99 2 HX / United King- 

FOR TRADE: Stalin, Comes, Gauze, 
Lipcream, Swankys...etc. 300 items Ob- 
scure Japanese Punk/HC records. Want: 
World Punk/HC. Send your want/trade 
list to - Sumiko Iwamoto, A-207 Keiefu 
Hights, 3-47-1 Fuda Chofu, Tokyo 182- 
0024, Japan. 

5000 HC+Punk records on the net with 
trade. Japan HC, Euro- or Scandinavian, 
Powerviolence, SE NYHC and also 
KBD/Bloodstains raries, bands like 
GISM/Gauze/Spazz/Mob4 7/Nubs/MD/ 
Septic Death and more. Albert Lubbing/ 
Erasmusstr. 1,10553 Berlin/Germany/ 


of print classic punk film, featuring bands 
such as The Dead Boys, The Sex 
Pistols.Sham 69, Gen X, and a lot more! 
Don't settle for a shitty copy of this movie - 
get the real deal ! Only $15 bucks each ! Send 
well concealed cash to: Retribution, PO Box 
3506, Columbus, Ohio, 43210. 

WICCA CHICCA The Pimps second 7" 
includes Nose Pain, Cruisin for Cre- 
ation, and Dying Nation $4 ppd. and 
$21 gets you ten. Send to Rapid Pulse, 
PO Box 5075, Milford CT 06460. Also 
for the same price My Dad Smokes 
Crack 7" with songs like "Strap on Sal- 
ly" and "K-9 Christ" to Scott Chan- 
dler, 8461 Quincy St., Norfolk VA 


SIDECAR - "All Those Opposed" CD 

Tike two things that I hate and then put them together (no not 
carniwandTacoBdl);$katepunkandemo.Jt , semoaonai skate punk. 
Not my wp of tea, but since fonoroe reawn or another I'm in a good 
mood, 1 11 let them off easy. HeJJ, I'll even give them some song titles 
tor their next album (chances are I'll review that one too since if 
memory serves, I reviewed their last one): "Fractured; My Heart and 
My Skull" , '1 Cried for You andMy Skinned Knee" (BM) 
(Fast. #68 Broadway #511, New York, NY 10013) 

401 Broadway #2011 NY. NY 10013 

^■**"* 7f f.1> 





NO ONE RULES (japan). 


WORMED UP (japan). 



T.J.MAXX (japan). 


FORWARD (japan). 

FACE OF CHANGE (japan). 

SLANG (japan). 

25 I A LIFE (USA). 







HARD SIDE (France). 




CD:$10. MCD.S6. 7inch:S5 




V FAX ORDER: 81-11-219-0093 J 

P.O. Box 14361 Ft.Laud., FL.33302 

SI S\l*l*OttO 


lamt aoSrD"T>p.!3giP»DBaTRTCTiVB .youth; 



NEW 5 SONG 7" 


#4 APEFAGE.s/t'l2" 
#7 AREA 51 "diaoography" 10" 
#8 SAKE "the desert" 7" 
#9 '.!• - "dls ease" 7" ,: 

#10 SAKE s/t 10" "*« 

#11 BLOOD BROTHERS s/t 7" 

fH&6i s2s622l4'X; 

pock baker3?.ibld 
remember >■.., = „,. 
RILL: StXtLtV'AN '.'-. 
,• OR DER . ' ■■•"■ '._!; 

'DI3TR0 throughout 

510 420 8733 

" -3OON- 
LAST MATCH 10" ( ^ ' 

' OX *55733j 


the six parts seven 


red scare/pankration lines and patterns CD 

indestructabie junkshow CD 


V* X 

S *X Sm 

-• l/ftm * 

Guyana Punch Line j 




1332 "Skinless" EP 



DAMAD "Rise and Fall" LP/CD 


"15 Counts" LP/CD 

"Monuments " LP/CD 


"History Behind the Mystery" 



"Specimen" 7" 

"Electric Funeral" 7" 


SVART SNO "smoek'n Roll"LP 

TOTAUTAR "Klas inte Ras" 7" 

"Control" EP 

Split w/ Deathreat 7" 


1st 7" 




"T.V.Baby" 127CD 


Prank.P.O.Box 410892, SF,CA 


Prank is distributed by Mordam Records in San 
Francisco (415)642-6800.Fax (415) 642-6810 Storcs,distros, etc 
get in touch with them.Thcy have a really cool 
Website now 

NEXT: Artimus Pyle 12" Single, 
DAMAD "Burning Cold" LP/CD 
get the Creeps On Candy Lp On 
Alternative Tentacles... 

Records & Stuff We Sell: 

LU N G F I S H The Unanimous Hour' * 

FUGAZI 'Instrument' soundtrack - 1 8 songs T * 

CI 1^ A7| 'lnKrgment'-afilm/vkteob)riemCohen«n<( 
■ *^ ^*" ■ ■ Fugaii. 1 15 mln. Available in VHS A PAL video 

Join Us' * 
'Artificial Horizon' 
'In Mass Mind' * 
'Con Art' 
'End Hits' ** 






A I \T(^\fl AUC I l-ionj ponhumom CD, CD 

rV-> I V-'V-l_r\V C all previously released XK 

BLUETIP 'Dischord No. 101' * 

FUGAZI 'Red Medicine' + * 

MINOR THREAT CD has every song! 


*regular CD. price ® / + Cassette. price <t 


CD single, price © 



Price Guide, including postage, in U.S. $ 










CD single 

We accept Visa / MC / Discover • Call (703)351-7507 or E-mail or Fax us 

Stores: We deal direct. Write us or fax us at (703) 351-7582 





Illustrated CATALOG! 
please send one US $ or 
4 US Stamps or 4 IRO. 

For a plain but complete 
LIST of records, send 
us a US stamp or an IRC. 

3819 BEECHER ST. NW, WASH., DC. 20007-1802 

Please send a stamp Tor a FREE record and cai 


rk Bruback 'Riot at The Shriner Cifo 
(studio tracks ♦ mystery trac 
f7.00ppc| UjA/j9.00pp4 Wo? 

Mark Bruback "The Sephiroth" book 

(political, metaphysical rants) 

fB.OOppd ffA/flO.Oppd; World 

'Mark Bruback/Whorehouse of Representative* split 7' 

"Bum Down Nike Town* frames with matches) 

'Active Mindj/l/mbrella Tribe T 

'Chaos Bastards "unbellberkundend" (guitarist of Hiatus) 

'Decrepit/Scathed split T 

'Detestation "Blood of the Cods' T 

'Dezerter 7' (polish male/female vox) 

'Plssober/Downward Spiral' 7' (sweidish punk) 

'Extinct Government/Recharge 7' (guitarist of Lip Cream) 

'Global Holocaust/Obnoxious Race 7' 

'Global Holocaust "Human Mistakes' 7' 

'Hellkrusher/Praparatlon H 7" 

'Intolernce "Aspectos humanos de la Vida Animal' T 


"Pig Destroyer/Orchid 7' (singer of Hiatus) 

'Scapegoats "Kopflos' 7' 

'Shoot the Hostages "Shoot First Live Free' T 

'The Skizmatlcs "No Hero's' 7' (pogo punk) 

"itrarany 'Love and Friendship' (pc punk. Poland teamale vox) 

'Toxic Narcotic/The L/nseen sprt T (crust/pogo punk) 

"Zarbi Band/Garage Lopez 7' (frencb punk) 

All T U OOppd l^A/Ji.OOppd World 
(checks to Katrina not Outcast) 

Outcast Records 

PMB 184, 2608 2nd Ave 

Seattle WA 98121 


rnmwmim N5Ui 





































Unlimited Variety 
Number One Fun 
Paul's Boutique 
As Good as Dead 
Laid Insignificant 
Youth Attack 10 
and the dirty little.. 

West Side Horizons 
Symbols, Signals 
Angel's Curse 

Maximum Smashism 
Fucked Up Mess 
The Plot Sickens 
Bum Bum 

Trapped Inside 

Cactuses Come... 
Thrash Mosh 
Paper Tiger 
Zen and the art of... 
Erode the Person 
Righteous Apes 
Cunt of God 
Turbo Trash Frenzy 

Setting Fire to... 
Double LP 


WHAT HAPPENS NEXT? Hollow Victory 

Can't quite get my head around this one - lots of bass (no guitar!), Lydia sings/speaks, distortion, keyboards (?!)... 
Older single back in stock - Six songs from 1 992 - same frenzied, sweeping Japanese hardcore you know them for 
In the vein of any humorous, quick and tuneful band • snide humor with catchy, upbeat and quick songwriting. Go' 
Limited Quantity - the insane 8 fold package - think Gatefold X 2 - their best on a double LP with cardboard galore. 
An old school flavor - cool breaks, harsh vocals and choruses to sing along... political hardcore in the classic sense. 
Another great pairing - Florida's heaviest and the graphic legend. Half hour of bludgeoning hardcore, ace package. 
More of trie searing hardcore they do - doesn't explode with speed, but it's never mellow or pretty. Nice cover. 
The infamous and now long out of print 1 2 reissued as a European 10. Poster, sticker and more - they still rule. 
Recorded back a while ago (1991)- finally released - Five songs from this German infantry outfit - funny layout- 
Forty song CD - humor, powerviolence and irreverence. Samples, high/low vocals and brutal guitars. Great stuff. 
This is the best thing I've heard this month - totally abrasive, somewhat amusing, and ultimately unfriendly. 
The collection CD back in stock - when it's Despise You, and it's a 62 song discography, you know you need it. 
Their second full length on vinyl - new layout, same insane noisecore - they're the hugest sounding US band again... 
Working the 'severaf people scream, guitars wail like crazy, drummer goes nuts' angle - charasmatic Japanese >IC 
Just a restock, but want to keep giving this props - blazing stuff from these Reno kids - ferocious, intneate hardcore. 
Members of Hellchild/Multiplex - awesome Japanese hardcore with some crazy packaging (a la Disc. Axis) - cool. 
Gotta give credit - Ken knows how to pick them. A hundred paces, ten sounds, four people and one new ideology. 
Great to put this on, and not be surprised. One of the best around does it again - no filler, no fat, and not slow. 
Amazing stuff - their latest, and perhaps last. Color gatefold package, questioning and prodding music arid life again 
Another scorching platter from these Germans - it's about a thousand MPH, gasoline vocals andentirely in German.. 
Great CD - dual vocals, and the kind of politics that still keep me going - insightful, incidiary and inspirational. 
Great stuff - neat packaging, and some totally ferocious hardcore - several people screaming the whole time. Ace. 
Ferocious stuff - they've managed to destroy much better bands year after year at Fiesta Grande - grt people too... 
Little slower (only 6 songs!) - still raw. multiple vocalists and Japanese. Great that they spell Vacuum as I used to! 
Doing what no one else would (could?) do - they're making about the strangest hardcore I know. Definitely unique. 
Noisy, raw and almost unintelligable. Two vocalists, a drummer on crack and 1 songs on a EP. Goddamn. 
Great one sided single - impressive packaging and three more of the streamline blasts they're known for. Great. 
Much anticipated full length - and worth the wait. Spiteful, uncompromising and abrasive hardcore. Straight ahead.... 
About everything you'd need, and cheap too! The 'Erode' LP, Embraced EP and various comp / split materials... 
61 Songs from Australia's finest - it's a singles collection, so there's some great material here - check MRR-CIA 
It's made it onto vinyl - awesome latest fulilength from these Aussies - not pretty, not nice, and back to their roots. 
The rare talent of adding tunes to raw punk - catchy as hell, anthemic choruses and it's raw as fuck. From Japan. 
Another four songs from these Bay Area standouts. Songs are fast and abrasive, yet stick with you. More fuel!! 
Crazy packaging from Neurosis side project - one sided, etched vinyl and a hand screened cover. Interesting/Unique 
Whoa. This has the hugest production. The Arizona desert, continuing to bake desperation and spite to a crisp. 
Benefit Double LP for PE - Damad/Brother Inferior/Doom (UK)ZAcursed (Swe)/React/Seein' Red/Hellkrusher etc 
Last chance on these - tracked some down, but the label is gone, and it s long out of print. Move quick! 
Max pulls it off again - Flash Gordon, Lie, Crucial Section and What Happens Next? Doing the flipped up hat stuff... 
Check this one - C Bronson / C Casualties/ Gob/ GAIA/ Capt 3 Leg / Laceration / Palatka and 4 more. Whoa. 
One of the better noise/hardcore bands in the US right now - 7 Ft Spleen work the distortion well - great split. 
Amazing packaging - El Grito comes through with the goods. Texas / California hardcore - noise, attitude, etc etc 
The infamous split - these being the last available copies anywhere. Reviving the heights (depths') of the eighties... 
Check this lineup - Dahmer/Demon System 1 3/Dudman (Japan)/C Bastards(1t3ly)/Tumult (Ger)/Ruido. Whoa. 
England's finest 'pure' hardcore get to it again - They don't waste time, effort or energy. Raw, basic and harsh. 
Managed to get this in quantity - great 'side' project from Spazz/Fuckface personnel - 80's skatecore revived again 

Slap A Ham 









Grand Royal 






Bacteria Sour 



No Records 












No Idea 






W Grind Fed 






Rev. Power Tools 









Sound Pollution 



Ne Vous Laissez 









SG Records 



Slap A Ham 





















Yeah Mate! 
























625 Prod 









Ei Grito 






Knot Music 



Six Weeks 



Not A Problem 



Spdo% e ej a x"e°k g iy:V\^v^v^ > vacuurnsf .com 

Full print catalog- send $1 : Ck / MO= Vacuum : Foreign or Credit Cards ask or WWW 

US Postage rates only!!! Post Info: EP= 2oz / LP= 8oz / CD= 6oz / Mailer = 8 oz 
Spec. 4th - $1.50 first Lb, 0.50 ea add Lb / Priority $3.50 first 2 Lbs $1.50 ea add. Lb 

POBox 460324 SF CA 94146 





New CD Out Now! 

14 songs in 17 minutes 
nf hyper-fast punk ruck! 

For ordering Information send a 

addressed stamped envelope I 

The neighbors / 4646 % West Pc 

^Int^fwTfWwpre*^^ </■ 

T*>vr CD 

Trt <~7 ?,.}, =o3 

fci i>; V '•' t; ' Cot 

C/vSH op. 

iV\c Ai£V 




.a new EP of excellently executed, llllllll "... a contender for punk 

lyrically heartfelt pop-punk" Unflll* ? reat f" ?f r K" ' ■ ry 

Hi t list Sept. '99 "...THIS ALBUM 15 FUCKING „.„,. z ™ nm?m L, . '•» 



mWMm i 

AGES...." BAND" 

FRACTURE DEC. '98 Fllpside, ***■ 98 

P? I* nrfBk. 


a kit '"■>"''' " 



Shoot The Moon' 0Nt MAN ARMY AFI's 'A FIRE INSIDE' 

CDIP-S8 il'lP-SJ 'Dead Ind Stories' CDIP-SJ T'-SS 


T-Shirts available now-Band shirts $11, Adeline shirt $10 specify size \ 

. M. [. XL V 


'Burning Flesh and Broken Fingers' 


5337 College Ave. #318 
OAKLAND CA. 94418 

One Man Arniy The Criminals 
X 'Bw! 'Breakout' 




new catalog.' | rjates and info at 
All prices are Postage Paid in the US. Canada add $1, Overseas add $2 more. ADHJNtRlCORDSlIlT 

The Lance Hahn Vanity label... 


Here's a little bit of new stuff... 

(Argentina, 300 only) 

CILANTRQ 7" $3 (J Church acoustic, sorta) 
KILLED BY EPITAPH 2xLP $10 (early Dutch 
punk w/The Ex, Rondos, IvyGreen, Panic, etc.) 
HANG 10 CD $8 (w/J Church, Cub, Man Or 
Astroman, Queers, etc.) 
HOW 2B PUNK CD $8 (w/J Church, Discount) 
(w/Rondelles and Skinned Teen) 
BIS "Kid Cut" 7" $4.50 (1,000 only) 
BIS vs. LUGWORM 7" $3 
REFUSED "New Noise Theology" CDEP $6 
(un-released and remixes off of final LP) 
YOUNG GINNS CD $1 1 (members of 
Unwound, Nation Of Ulysses.) 
UNWOUND CD $11 (first album) 
PUNJAB ROVERS 7" $3 (Cornershop and 
Mambo Taxi people) 

J CHURCH "Asshole" 7" $3.50 (300 only 
mailorder single. I just found a few more.) 
REGISTRATORS "For Vibrate" 7" (only a 
few left, forever...) $6 

GIRLFRENDO "Get Ready To Be..." 7" $4.50 
[ LUNG LEG "Negative Delinquent" 7" $4.50 
LUNG LEG "Shaqq The Tiger" 7" $4.50 
FAYE WONG "Pi Dar" TP $4 
FAYE WONG "Ingratiate Oneself" TP $4 
FAYE WONG "Sky" TP $4 
KESKIDEEZ VOL. 1 7" $3 (J Church, Rhythm 
Collision, etc.) 

...And for a limited time only... 
J CHURCH "The Dramatic History Of A 
Boring Town" 7" $2.50 (100 only with button 
and postcards, UK) 

J CHURCH "The Undisputed King Of Nothing" 
7" $3 (UK) 

J CHURCH "The Drama Of Alienation" LP $8 
J CHURCH "Your Shirt" 7" $2.50 
J CHURCH "Analysis" 10" $5 (pic disc) 
J CHURCH "You Think You're Cool" CD $8 
(Japan only singles collection) 
J CHURCH/WATTYLER 7" $3 (tour single) 
J CHURCH "VMLive" 7" $2.50 
The long awaited Cigaretteman 7" is next! 
Maybe new stuff with J CHURCH... Who 


PO BOX 460346 
Frisco, CA 94146 

Send a stamp for J Church newsletter... 






Once I figured out this was 
played on 45, not 33 as the record 
says, this record sounded a lot better. 
Of course, it wouldn't be Maximum 
i without a little misinformation. The B- 
SIDES play snotty, sloppy, fun-filled 
punk rock similar to Wimpy-era 
I QUEERS stuff. This release is way 
better than the last couple of MRR 

releases, that's for sure. (JF) 



TEL 415 -642 6800 

FAX 415 642 6810 

P0 BOX 460324, SF, CA 94146 










PO Box 460760 
San Francisco, Ca 94146-0760 

Underground Medicine 

PO Box 5075 


Bulk Rate 

U.S. Postage 


San Francisco, CA 

Permit No. 728 


Do* Yourself RescuosMagazineNo. 8, 2000 

For 7 years MRR has joined forces with various collectives and put together a resource magazine which many of you have sent in listings 
for, and many of you have utilized in booking tours, putting together compilations, traveling around the world, or just using to keep in touch. 

We will be compiling the resources geographically, trying to give as complete a listing of DIY and related activities as possible. The 
thoroughness of this project will depend on the response we get from people involved with different projects. Listings in this magazine will be 
free of charge; all you have to do is get on the web or send in a note with the information requested below. Please, if you're sending in listings 
of many types, break them down by the categories listed below so the typists won't go crazy trying to sift through a mountain of info, and keep 
the statements or descriptions concise!! If at all possible, please use BYOFL's web page to submit your listing (remember some libraries and 
computer stores have net-connected computers). 

This year is unique in that we already have a perpetually updated database of listings due to the BYOFL web site. In an effort not to 
include too many abandoned listings in the print guide (we can't tell any better than you which listings are dead), all listings in the database 
dated previous to March 1 , 1 999 will not be included. If you have access to the web, please read the instructions on the BYOFL web site to 
insure that your listing is accurate and will be printed in issue #8. If you don't have access to the web, then submit your listing as you always 
have by snail mail. 


BANDS: Name/Address/Telephone NoVEmail Address/Web URL/Brief Description (40 words or less please!) 

DISTRIBUTORS: Name/AddresslTelephone NoVEmail Address/Web URL/Specialty (vinyl, cassettes, CDs„zines, etc.)/Area of Coverage 

(mailorder, wholesale, gigs, etc.) 

LABELS: Name/Address/Telephone No./Email Address/Web URL/Brief Description (40 words or less please!) 

PROMOTERS/VENUES: Name/(Mailing) Address/Telephone NoVEmail Address/Web URL/Hall Capacity/Lodging or Food Provided?/Working 

Terms (guarantee, percentage, etc.) 

RADIO STATIONS: Station Name/Band Frequency/Address/Telephone NoVEmail Address/Web URL/Contact Person/Punk-HC Shows and 


RECORD STORES/BOOKSTORES: Name/Address/Telephone NoVEmail Address/Web URL/Specialties 

ZINES: Name/Address/Telephone NoVEmail Address/Web URL/Postage Paid Price/Frequency/Size/Description (40 words or less please!) 

MISCELLANEOUS: We also ask people to send in tips on hangouts, cheap places to eat, free clinics, bulletin boards, crash pads, etc. These 

listings could be especially helpful for touring bands. 


Display ads will be sold to help pay for this project (only for the print edition, not the web version). However, to make this resource issue as fair 
as possible there will be only one size. We are doing this to make ads just as accessible to the small 20 page fanzines as the big record 
conglomerates! The ad size available is 3 3/4" across by 2" down or 95mm x 51mm (basically, a slightly elongated business card size). The 
cost for ads is $25 which will help keep the cover price as low as possible. Please, only one ad per label, zine, promoter, etc. 

Deadline: Feb 1, 2000 - Due Out: April 15, 2000 

Send snail mail listings to: 

The Amoeba Collective 

438 Donohoe St, #3 

East Palo Alto, CA 94303-1 805 

Send al ads to: 



SF,CA941 460760 

Submit listings on 

the web at: 


(preferred method) 


1) Use the web submission page if at all possible! This will decrease the chance of inaccuracies or your listing getting lost in the mail. 

2) If you submitted a listing last year and have access to the web, check your listing for accuracy and that it's dated later than Mar 1 , 1 999. 

2) Be brief! We're not editors. If you snail mail them, send them in nice and typed or neatly printed. 

3) Submit them early. Like now! If you go over to the web site it'll only take you a couple of minutes and you won't have to hunt for a stamp. 

4) Don't use all uppercase (or all lowercase) letters. It makes it really hard to figure out what is part of a name and what is just a descriptive 
word (and if you submit it through the web site, we'll have to retype it). And punctuation is good. 

6) We don't need the address and phone number of every member of your band. Pick one! 

7) Don't send in 18 listings for all the semi-existent bands you're in— just for the ones that are really active! 

8) Maybe take responsibility for getting your whole scene's listings done, but.... 

9) Check with people before submitting their info for them. Hassle your friends to get their listings in too 
(the Internet is your friend). 

10) No certified/registered mail, please!